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SaltLakeUnderGround • Vol. 22• Issue #275 • Nov. 2011 • slugmag.comPublisher: Eighteen Percent Gray mikebrown@slugmag.comEditor: Angela H. BrownJemie SprankleManaging Editor:jemie@slugmag.comJeanette D. MosesContributing Editor: Ricky VigilMarketing Coordinator:Editorial Assistant: Esther MeroñoKaramea PuririOffice Coordinator: Gavin SheehanMarketing: Ischa Buchanan, JeanetteMetal Coordinator: Bryer WhartonD. Moses, Stephanie Buschardt, GiselleCopy Editing Team: Jeanette D.Vickery, Veg Vollum, Emily Burkhart,Moses, Rebecca Vernon, Ricky Vigil,Rachel Roller, Jeremy Riley, SabrinaEsther Meroño, Liz Phillips, Katie Panzer,Costello, Taylor Hunsaker, Tom Espinoza,Grason Roylance, Kristina Sandi,Rio Connelly, Alexander Ortega, MaryEnge, Cody Kirkland, Hannah Christian,Brooklyn Ottens, Angella LucisanoJohnathan Ford, Eleanor ScholzSocial Networking Coordinator:Grason RoylanceCover Illustration: Tyler DensleyLead Designer: Joshua JoyeDistribution Manager: Eric GranatoDesign Team: Eric SappDistro: Eric Granato, Tommy Dolph,Design Interns: Jeremy Riley, ChrisTony Bassett, Joe Jewkes, Katie Panzer,SwainstonNancy Burkhart, Joyce Bennett, AdamAd Designers: Kent Farrington, SumersetBivens, Christian Broadbent, KelliOkeefe, Ryan Worwood, JenniferQuintanaTompkins, Maggie Poulton, Eric Sapp,Brad Barker, Lindsey Morris, PadenBischoff, Maggie Zukowski, Thy DoanWebsite Design: Kate O’ConnorOffice Interns: Jeremy Riley,Chris Proctor, Kia McGinnis, Liz LopezIllustrators: Manuel Aguilar, Ryan Perkins,Phil Cannon, Benji Pierson,Maggie Zukowski, Sean Hennefer, RobinBanksPhotographers: Ruby Johnson, KatiePanzer, Dave Brewer, Sam Milianta,Weston Colton, David Newkirk, BarrettDoran, Adam Heath, Bob Plumb, ChrisSwainston, Jesse Anderson, JohnCarlisle, Eric Scott Russell, ChristopherReeves, Chad Kirkland, Melissa Cohn,Gage Thompson, Megan Kennedy,Michael SchwartzFilmers: Brian Baade, Loren Tyrel, MaryCatrow, Slugger, Andrew Schummer,Brock GrosslAd Sales: SLUG HQ 801.487.9221Angela Brown:sales@slugmag.comMike Brown:Senior Staff Writers: Mike Brown,Mariah Mann-Mellus, James Orme,Lance Saunders, Jeanette D. Moses,Bryer Wharton, Peter Fryer, JamesBennett, Ricky Vigil, Gavin Hoffman, JonRobertson, Esther Meroño, RebeccaVernon, Ross Solomon, Chris Swainston,Sam Milianta, Jimmy Martin, BenTrentelman, JP, Tyler Makmell, PrincessKennedy, Sean Zimmerman Wall, CodyHudsonMonkeys with Computers:Brian Kubarycz, Eric Hess, Rio Connelly,Courtney Blair, Elliot Secrist, Dean O.Hillis, Jemie Sprankle, Jessie Wood,Chris Proctor, Some Cop Dude, AndrewRoy, Alexander Ortega, Kyla Grant, NateHousley, Madelyn Boudreaux, IschaBuchanan, Gavin Sheehan, Levi Rounds,Dylan Chadwick, Clayton Godby, MeganKennedy, Tom Bennett, Mary Ryder,Mame Wallace, Jason Young, TomWinkley, Henry Glasheen, Alex Pow, KiaMcGinnis, Johnny Logan, Lauren Paul,Kylie CoxRoller Derby Correspondents:Paige Snow, Diane HartfordAbout this Cover: This month’s cover was designed by local aritst Tyler Densley. Densley is one of the tattoo artists atCathedral Tattoo and will be releasing his new zine, Acid Math (LSD > LDS), at Copper Palate Press on November 11.DISCLAIMER: SLUG Magazine does not necessarily maintain the same opinions as those found in our articles, interviewsor advertisements. If you are easily offended, please do not blame us. We are a carrier for the voice of the people and it isnot our fault if you don’t like people. Content is property of SLUG Magazine. Please do not use without permission, or we willhunt you down and make you pay for your sins. Now, that’s a promise.Contributor LimelightKaramea Puriri – Marketing CoordinatorKaramea [pronounced cara-me-uh]Puriri is the newestmember of the SLUG staff,but has been a part of theSLUG office team since 2010.Karamea obtained her MBA inEntertainment Business fromFull Sail University in Orlando,Florida, but she really learnedeverything she knows from hermom. She is the co-creator ofthe Salty Streets Flea Market,volunteers for Craft Lake City and you can hear her playing magical jams on KRCL90.9. Karamea is a quiet force of reason. She’s not a big talker, but when shedoes say something, you better listen up. On the weekends you can usually findher working at the Blue Plate Diner, planning another event, or blogging, Tweetingand Tumbling at home. Need to plan an event or set up a blog for yourself? Spenda few hours with this girl and you’ll have it all figured out.4 SaltLakeUnderGround 5

Dear Dickheads,I am at the ripe age of 19. I can strollinto any smoke shop around this townand purchase enough stogies to takeout a lung. I can write in whoever thefuck I feel like on a presidential votingballot. I can get married and startpoppin’ out wee ones. You know whatI can’t do? Go see a damn band playlive. Utah’s reasoning behind thisis alcohol. You know, that stuff myparents have been guzzling in plainsight in front of me all my life withno harm done. In fact, by eliminatingthe mystery factor from drinking,my parents have created a girl whodoesn’t see much appeal in gettingshit-faced. While it’s true that at 21+venues, some concert go-ers chooseto consume too many shots and endup puking in the urinal, it’s not to saythat every person would do the same.All I want is to be able to stand in thecrowd at shows and see my favoritebands. Is it so much to ask? I promiseI won’t yell obnoxious things to the musicians,or start a bro-pit of belligerentdancing. Hate to break it to you, butthat happens at all ages venues, too,folks. I’m reaching ‘Paying For A FakeI.D.’ desperate. Thanks, Utah’s oligarchygovernment, for screwing musiclovers over and vicariously inspiring anentire generation of closet alcoholics.Hope the view is good from upthere on your high horse.Dear Bereft Chick,Look, no one hates Utah’s liquorlaws more than SLUG, but you’renot going to get any sympathyhere about your underage gripe.Personally, I can’t stand to bearound anyone born after 1985(and I’m younger than that).There’s a reason why you andyour peers aren’t allowed insidethose venues, and it’s not just thatyou can’t hold your liquor: We likenot having you there. I rememberthinking, “What’s the big deal?”about 21+ venues, and missedsome good shows back when Iwas a wee one, but being able toget into those places with my headheld high, with no drooling babiesto deal with once that birthdaycame around was worth it, tenfold.If you’re that big of a music snob,Salt Lake has plenty of awesomeall-ages venues. I’ve seen a fewbands come through here recentlyand stay for two nights to cater tothe young’uns by playing showsat both Kilby and Urban. You’ll begrateful for those 21+ venues soonenough. Until then, enjoy youryouth for heaven’s sake. Thosecloseted alcoholics don’t get anybetter once they turn 21.XOXO SLUGSincerely,Chick Bereft of ConcertsFAX, SNAIL MAIL OR EMAILUS YOUR LETTERS!Fax: 801.487.1359 • Mailing Address: Dear Dickheads c/o SLUG Mag351 Pierpont Ave. Ste. 4B SLC, UT 84101or dickheads@slugmag.com6 SaltLakeUnderGround 7

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Photo: Katie PanzerIrvin Martinez – BassKyle Wilcox – VocalsRhett Hansen – DrumsDiego Mijares – GuitarDark Seas is a band that almost never was. Thesedays, you can find them regularly playing with MaxPain and the Groovies and Spell Talk, but theywere reluctant to play at first, and almost didn’tmake it to their first show. Luckily, with the help ofa California tour, a poncho and a whole lot of peerpressure, they’re making a name for themselvesplaying dirty, drug-hazed rock n’ roll.The group had been tinkering around, playing JoyDivision songs for approximately five months beforethe drummer of Max Pain, T-coy, called to say hehad booked them a show at Kilby. Unable to play anyof the covers that their “set” was composed of, theband asked T-coy what the hell they were supposedto play. “He said ‘Well, can’t you guys just writesome songs and play them?’” says Wilcox.With only 21 days to prepare, they managed towrite four songs, but at the last minute decidedthey weren’t ready. “We tried to back out and T-coysaid, ‘Fuck no, you guys are playing,’” says Wilcox.Unable to ignore the peer pressure, and out of a fearof having their “balls ripped off” by T-coy, Dark Seasplayed their first set of original material on Feb. 22at Kilby Court. “I think for the amount of time [weput into it], it actually came together pretty well.Obviously, it wasn’t the best sounding shit, becausewe didn’t have time to practice,” says Hansen.Considering that the bulk of the members pickedup their instruments a little over a year ago and thatthey’ve only been together for a mere nine months,it’s pretty astonishing how far Dark Seas have comesince that first show. What Dark Seas may lack inexperience, they make up for with their enthusiasmfor playing music.The project actually got its start due to Mijares’extreme alacrity to learn to play the guitar. “I metthis old-ass dude and I was watching him [play],and I said, ‘I want to play the guitar so bad––I lovemusic,’” Mijares says. The “dude” told Mijares that ifhe played 30 minutes per day, he would eventuallylearn to play some songs. “I know I sit at my housefor more than 30 minutes a day,” says Mijares. Therealization led him to purchase a guitar, and afterspending almost three weeks playing for numeroushours to learn Pink Floyd’s “Wish You Were Here,”he convinced Martinez to try to learn the bass. “I’llbuy it, and if you don’t like it, I’ll keep it. If you dolike it, you keep it and just pay me back,” Mijaresrecalls telling Martinez. The two went to the pawnshop, bought a bass and then recruited Wilcox tosing because of his love for karaoke. A while later,they ran into Hansen at a party. He told them he hadsome drums in his basement, and they exchangednumbers and made loose plans to jam.“We didn’t know how to jam. We didn’t know whatthe hell that meant,” says Martinez. Since theydidn’t know how to start from scratch, they startedwith what they knew, liked and was easy—JoyDivision. When it came time to actually write theirown material, Mijares says they pulled from thosesame songs they originally learned. “It was the samechords, but just strummed differently. [We] mixed’em up and came up with something,” he says.Although they started with a single influence, thesedays, Dark Seas are inspired by a much larger groupof bands, including The Black Angels, The Doorsand Link Wray. “Our style has changed a lot. Itwas more of a Joy Division sound back then. I thinkwe’re branching off now and finding our own style,developing our own sound,” says Wilcox.Their stage presence has also grown to match theenergy of the local groups that initially encouragedthem. An April tour to California with The Grooviesseems to have helped Dark Seas find their footingwhile performing live. “We were really stiff onstage when we first started—we didn’t do stuff atall. We were just like mannequins. After we wentto California … That’s when I lost that,” saysMartinez. According to his bandmates, the trip toCalifornia wasn’t the only thing that helped theirbass player become more fluid on stage. “Irvingot a poncho and he fucking loosened up,” saysWilcox. A poncho that he wore on stage in a venuein Hollywood that was nearly 90 degrees—“I’msure Irvin lost at least one pound that night. He wassweating so much,” says Mijares.At the time of this interview, Dark Seas were in theprocess of recording their first release with KentRigby at Midnight Recording Studio. The eight-songself-titled album will be released the same night attheir Localized showcase.Check out the unconventional eccentricities of PrettyWorms, the vintage-influenced rock n’ roll of DarkSeas and opener The Rose Phantom at Localized onFriday, Nov. 18.LocalizedBy Jeanette D. Mosesjeanette@slugmag.comOn Friday, Nov. 18, head down to the Urban Lounge to check out the spaced out,experimental Pretty Worms, the drug-dazed, dirty rock n’ roll of Dark Seas and openerThe Rose Phantom. As always, a mere $5 gets you in.Pretty Worms formed approximately a year and ahalf ago, initially as no more than a practical joke.“We talked about an art prank—doing a band thatwas a hoax, that didn’t actually exist and didn’tactually have any music,” says El Moron. Whatstarted as an idea for a hoax on Salt Lake City’smusic scene turned into an actual project—oneof the more unique and eccentric ones currentlyplaying Salt Lake. “I think the backgrounds ofeveryone in the group are pretty diverse. So oftenin a band situation, you get tied in with a bunchof people who have the exact same ideas as youand you get a more uniform result,” says El Moron.“This time, since we’ve had a multitude of differentperspectives, it has been a more experimentalmethodology.”orchestras before moving into more abrasive music,playing with groups like Subrosa, Laughter andDwellers. “When I’m not stuck behind a drum set,I love noise,” he says. “Pretty Worms is definitely upthat alley. I get to mic my drums and put it through aspace echo.” Red Siren says working with El Moronprovided her the chance to fulfill a goal of creatinga record, something she moved to New York Cityto try to accomplish. “My last band, Milk 4 Cats,started doing fancy recordings and that unraveled atthe seams,” she says. “As soon as I moved back, ElMoron was mentioning a project he wanted to startand I told him I was in. Whatever [he was] doing, Iknew it was going to be good,” she an inside-out record in the dark, butyou know … That’s what we have.”Initial buzz about this set of releases made it seemlike you needed a special, high-tech record playerto play the inside-out cut record. According to ElMoron, any record player can play the release, it’sjust a matter of slowly moving the needle to thecenter of the record to avoid engaging the autoreturnmechanism found in many cheaper recordplayers. “It’s probably why not many people doinside-out cut records, but what the fuck … Herewe are,” says El Moron. “I figure the number ofpeople who are still interested in recorded music,and still interested in records is pretty small, sowe might as well go for it. We’re really not trying topreach to the unconverted. This is for people whoare already seeking out the unconventional. ”Although El Moron was instrumental in thecreation of the records, he says that it took anarmy of creative types for the project to cometogether. “It wasn’t just the musicians and theengineers and the people who did the audiopart of the record. We had some fantastic visualartists who helped with the record covers,” hesays.This past fall, Pretty Worms released three 7” singleson 8ctopus Records, each in limited runs of 200. TwoCome be converted to the land of theAlthough each member has plenty of experience of the three are splits with other local bands—oneunconventional when Pretty Worms play Localizedunder their belts, Pretty Worms has given them with Plastic Furs and the other with Blackhole.on Nov. 18.all a chance to explore areas of music that they El Moron pulled out all the stops when creating thehadn’t been able to in earlier projects. El Moron 7”s—all three releases feature custom artwork andhas played guitar in so many local projects that multicolored vinyl—but the Pretty Worms 7” containsit’s impossible to keep track—The Wolfs, Pink the most special touches of the trifecta.El Moron – BassLightnin’ and Ether to name a few—but Pretty “They are homemade cookies, for sure,” says ElWorms is the first time he’s played bass in a Moron. “The [Pretty Worms] record starts in the Red Siren – Vocalsproject. “It’s really quite a lot of fun to not have any middle [on one side]. It also has locked grooves in theZachsis – Drumsidea whether it sounds like shit or not, to not worry center of the record, which repeat infinitely. They workabout it and just be able to let the music come,” forward and backwards at any speed. The fucking Wylie Deadskin – Amp10 SaltLakeUnderGround he says. Zachsis got his start playing drums with records glow in the dark, too. I’m not sure how 11Photo: Jeanette D. Moses

Photo: Ivan SantiagoJacuzzi Boysrespectively)took the stage,an exuberantsmile stretchedacross my face.As the baldingYellow (whohad terribleteeth) began screaming into themic, that smile got even bigger.Unlike many groups, Peelander-Z’sshow is interactive. Just havingyou watch their performance isn’tenough. Throughout their set theyencouraged the crowd to singalong with their simple punk rocksongs, such as “So Many Mike”and “Mad Tiger,” by holding uplarge poster boards with lyricshand-scrawled on them. They alsopassed out small metal drums tothe crowd so they could participateby smashing against them withdrumsticks. Multiple times theymoved the show from the stageand into the crowd—startinggames of baseball, bowling andlimbo. Their set also included aplethora of accessories—plushmonster masks, colorful wigs anda giant spotlight operated by Pink.The interactive elements of theirshow elevate them to a new level ofentertainer in my mind.Jacuzzi BoysI instantly fell in love with thisthree-piece’s lo-fi style reminiscentof groups like King Khan and theShrines, Nobunny and Ty Segall, anda stage presence like a day-glowversion of Ramones. After doing abit more research on Jacuzzi Boys,I felt silly that I hadn’t heard of themsooner—they played the inauguralBruise Cruise festival, which I spent anumber of weeks salivating over lastFebruary with groups such as SurferBlood and Thee Oh Sees. I’m thankfulthat I randomly caught one of theirsets in NYC and plan to pick up a copyof their recently released Glazin’ ASAP.Dum Dum GirlsI’ve had Dum Dum Girls’ newestrelease, Only in Dreams, on repeatsince it arrived at the SLUG office inSeptember. I was thrilled that I wasgoing to see this all-female, garagepop group during CMJ. You mightremember them as a Twilight ConcertSeries opener from 2010, but forgeteverything you saw there. Dum DumGirls are a band best experiencedlate at night in a dark, intimate venue.Although there were some soundissues during their set, it was one ofthe strongest I saw at CMJ. Dressedin all black, these four women wereas beautiful as they were talented.I believe they opened with “AlwaysLooking” before ripping through manyof the other tracks on Only in Dreams.CMJ and they saved the eveningfrom being a total musical bust.This Japanese comic book punkrock group’s performance wasotherworldly. From the momentthe brightly colored Peelanders(Red, Green, Yellow and Pink,I didn’t get what I expected from CMJ, but my original expectations mighthave been unrealistic. CMJ isn’t its younger distant cousin from the South,but it doesn’t want to be. If I could do it all over again, I would like a clone.In the days spent scouring through blogs, YouTube footage and emails thatwere lost in the CMJ haze, it’s shocking to realize how much I missed—sometimes even by walking into a venue a few minutes too late. I only saw aportion of what this marathon had to offer, but sometimes sitting through thegod-awful makes you appreciate the gems that you find.Fanatic/Chicken RanchShowcaseDavila 666Bowery PoetryClub10.22Peelander-ZPeelander-Z was the finalperformance I saw as part of14 SaltLakeUnderGround 15

Dinner at a Friend’s HouseI live downtown, I’m an urbanist, and if New York can’t be had, a similar set of culturalhigh notes certainly can be. I put on some good-looking shoes and walk to a bar for adrink, in my case, Junior’s Tavern, where I order a dirty gin martini with Bombay. ThenI walk less than a block east to The Broadway Theatre, where, if there’s time, my friendand I will see a film after we eat at The Copper Onion, which sits directly in front andbeside the cinema. It is, for me, one of Salt Lake’s no-brainer evenings.If I had to eat out every day, and could only pick one place in town to eat at, it wouldbe The Copper Onion. No doubt. Though, The New Yorker or Tin Angel would also fitthe bill ... if there were no Copper Onion. The Copper Onion’s food flies against thewind of contemporary dining—it is simple, serious and from scratch. While one couldcomplain that it is almost sentimentally traditional—think homemade fruit cream piesand hand-minced meat loaf—it’s tradition from a time passed and a place gone. I feelless like I am in a restaurant, and more that I am at a friend’s house, and they reallyknow how to cook the hell out of cooking.There is a sense of intimacy that this restaurant provides, which dark tables and lots ofwine can only imitate, though a lot of wine is no bad idea. The wine list here is simpleenough, and the servers know the stuff soup to nuts, never just pushing the priciest sip,but the one that they think will be just right. Priced between six and 11 dollars, a glass ofwine is dead on target, but if you have friendsto share it with, a bottle is always better—andcheaper—by the drink.If you are alone, eat at the bar—it’s the bestseat in the house. The chef and crew don’tput on a show for you: They perform a craftthat has the beauty of labor and the graceof intelligence highlighting its ongoing event.They are focused and as one. It is a thing ofbeauty to see just how simple great cookingcan be, and here it can be seen.There are four different menus at The CopperOnion: brunch, lunch, late afternoon anddinner. The brunch is one of downtown’sbest, if for no other reason than it is servedon Saturday and Sunday. The Bloody Marys(5.00) are just fine, and until recently, theHuevos Rancheros (9.00) had pork belly inthem, which was wonderful and memorable,though now they are using pulled pork, whichis delicious, too, but not as special. They arenonetheless my current favorite version of thisgreat meal. The Frittata (7.00) is excellent, asone might expect, with a particularly creamyfinish and the lingering taste of sharp cheeseand garlic. The French Toast (8.00), too, willimpress enough that you will tell your coworkerabout it on Monday.Lunch here is, as it is the case with mostrestaurants, an abbreviated and economicalversion of dinner. It is the one meal thatseems a little pro forma, if you will, whichis too bad, because everything else hereseems so meditated. I would love to seesome farm-style noon food done with highendgrace—a casserole, or an imaginativecheese sandwich with soup, or a roastedchicken with vegetables. The Copper OnionBurger (11.00) is a great hamburger for thesame price as the so-so hamburgers in othersit-down joints downtown. The Meatloaf(9.00 for lunch, 17.00 for dinner) featureslamb, beef and pork, all locally sourced andPhoto: Barrett DoranBy Heck Fork Griefinfo@slugmag.comground for this particular meal. It has aparticularity of texture and breadth offlavor not often found in my meatloaflovingworld.All the dinner entrees come with somesmall side, but it is worth your time to trya small plate or two before your entree.The house pickles (3.00) are salty andsnappy. The Pleasant Creek RanchWaygu Bone Marrow (12.00) is here foryour inner foodie to take home a newexperience. Served with a baguette, it isa must-try if you haven’t. The RomaineSalad (8.00) is a sexy and well thoughtoutCeasar salad. The Pork Belly Salad(11.00) … Is it Turkish in inspiration? Oris it Deep South? It is a go-to, whereverit comes from.The Waygu Stroganoff from Copper Onion isone of our food critic’s favorite meals ever.111 E. BroadwaySte. 170Salt Lake City, UT 84111BrunchSat.-Sun. 10:30 a.m.-3 p.m.LunchMon.- Fri. 11:30 a.m.-– 3 p.m.DinnerSun.-Thurs. 4 p.m.-10 p.m.Fri.-Sat 4 p.m.-11 p.m.Afternoon Menu7 days a week 3 p.m.-4 p.m.T: 801.355.3282thecopperonion.comThe Waygu Stroganoff (19.00) is one ofmy favorite meals ever. It’s platonic in itsgreatness, but expensive, consideringhow hungry I feel seconds after I getdone with it. The Ricotta Dumplings(9.00) are strictly three par golf, and,though tasty enough, there just isn’tenough there for my fat Americanappetite. The Lamb Shank (18.00) isalways good, but not always available—get it if you see it. The Clear SpringsFarm Trout Filet (17.00) is a locallysourced fish served with skill andpanache. Trout bores me, but this hereis some fine water steak.For goodness sakes, order dessert.It’s house-made, and it’s really good. Ihave been ordering the various scratchcream pies (7.00) during these reviewmeals. Dessert is an expenditure Igenerally avoid at restaurants becausemost serve industrial product, plasticcrap. These guys don’t.For the past year or so, dining at thistrendy, hipster-sharp but friendly cafehas provided me with a number oftranscendental experiences both infood and society. I will be reconsideringmy several dinners here with a warm,if intoxicated, memory and fondnessfor years to come, and, though theywill not fill my body with calories,these memories will fill my soul withsome sense that I have lived well andbeautifully.16 SaltLakeUnderGround 17

to theKennedoll HouseBy Princess Kennedy • theprincesskennedy@yahoo.coms we enter the month of “giving thanks,” I would like to take amoment to reflect on what I’m thankful for and why. I tried tothink of a Princess story that I could regale you with, but quitefrankly, there were no funny ones and the story of going to helpthe homeless is too transparent. I don’t really care for whiny people of anyhomeless variety, anyway.Thanksgiving as a child was the same as everyone’s, a story of family andfood, but as I got older, it became way less appealing. My siblings all startedhaving children, and soon, holidays became like a daycare—a loud, darkplace. When I moved out of state, I used my distance as an excuse to neverhave to attend another family Thanksgiving Day again. Luckily, my familyunderstands and was not offended by this.Photo: Katie Panzer/Digital Imaging: Maggie ZukowskiAs a gay, you often end up making your own family. In mine, I am definitelythe matriarch. As the Angelina of this acquired family, Thanksgiving is a dayI look forward to. I love to cook, and this is the perfect day to show off myculinary talents. I don’t know what it is about this day that turns this nightclubbingdiva into a sentimental ‘50s housewife, but I go all out with theformal place settings and a menu that spans the board from the vegan to thepot eater, and ends in an open house cocktail party.The phenomenon of the gay family is called a “House” (like fashion) andit stems from the gay African/Latin American culture in New York City. Itsheyday in the ‘80s is featured in the documentary, Paris is Burning (releasedin 1990 and available on Netflix). In its first two years of release, it won “BestOf” awards from Sundance, San Francisco International Lesbian and GayFilm Festival, GLADD Media, New York Film Critics Circle and L.A Film CriticsAssociation, just to name a few.This film is easily the most important work in cinematic history of a gaysubculture. It not only explores homosexual culture, but also issues oftransgender, race, AIDS and poverty. It serves as a history of syntax stillused to this day, such as “fierce,” “realness,” “legendary” and “reading.” Italso dives into the glamour of the competition world. It depicts “balls” wherehouses “walk” in segments of costumed ferocity while Voguing—long beforeMadonna stole it from the gays for personal gain. Finally, it explores therelationships within the surrogate families that competed in these balls.The houses are comprised of an HOH, usually a mother, and the children ofthe houses are made to do some sort of trial and loyalty period in order to beaccepted into said house. My house, Kennedoll House, is made up of abouteight or ten misfits called the Kennedolls, who aren’t required to do anythingexcept love, worship and pretend to hang on every word I say. Another localand more current twist on this family is Nova Starr and her Starr minions,who are basically a SLC modern-day Von Trapp family, dominating theentertainment side of the drag scene. Cities around the country have theseclans working in different ways that somehow enhance a different aspect oftheir community. For the most part, every house stands around pretending tobe hot shit, but we’re all just cold diarrhea.“As I sit around my Thanksgiving table in my frilly apron,gazing lovingly at my precious little angels, one thing willdominate my mind: Thank god these little MFs have me.”It’s interesting how the dynamic of the relationships in these alternative householdswork. No matter how fake they may seem, people naturally fall into classic roles.I myself would have once been horrified at the thought of being called a mother.I find the term matronly, aged and unappealing, but once I found I had wisdomto force upon others, it came quite naturally. As for my faux offspring, they havepersonality traits like every other unit. There is the oldest that moved away tofind himself, the handsome brat that I have to nag to be nice to his siblings, theindependent, the perfect and talented one I’m hardest on to be even better, theinsecure pleaser, the comedian who makes all the wrong choices, momma’s littlehelper and the youngest/prettiest who constantly seeks my approval. Fuck me ifthe saying “I love them all equally” ain’t true!On the whole, I hate children. In my opinion, babies are for shaking and teensshould be starved in locked closets. Naturally, a family is something I thought Iwould never want, or even be afforded, for that matter. How foolish I have beento not see that a family is the perfect outlet for my ultra-alpha bossiness. As I sitaround my Thanksgiving table in my frilly apron, gazing lovingly at my preciouslittle angels, one thing will dominate my mind: Thank god these little MFs have me.18 SaltLakeUnderGround 19

Illustration: Sean HenneferWhen my Grandpa Miller was alive, a lot of thespotlight of fucked-up-ness was taken off of meand put on him. Grandpa Miller lived well into hisnineties, as did my grandma, and if a fucked-upsense of humor skips a generation, I can thank him.He was a successful, retired accountant who madeit known that he hated the Jews because, accordingto Grandpa, “They control all the money!” I neverreally understood that or cared to agree, but as longas he was getting yelled at by my mom for makingracist jokes at the dinner table, it was easier for meto hide my hangover.Grandpa was truly one funny son of a bitch. He waspretty deaf and had those big, old man hearing aids,so when you would talk to him at the dinner table,or anywhere else for that matter, conversationsoften shifted because he couldn’t understand agoddamn word you were saying. He would just gowith it and reply to whatever he thought you said. Itdrove my mom crazy, but I thought it was hilarious.As he got older and more senile, the conversationsjust got better.Whenever Grandpa would tell one of his dirty jokesat the dinner table, he would always pretend to nothear my mom and grandma yelling at him, while Iwould be the only one laughing. The funniest jokehe ever told I didn’t even hear the set up, just thepunch line. It was one of those long-winded storyjokes, and after he started telling it, I got into aconversation with my step dad.“As long as Grandpa Miller wasgetting yelled at by my momfor making racist jokes at thedinner table, it was easier forme to hide my hangover.”FAMILY DINNERmikebrown@slugmag.comBy Mike BrownTwitter: @FuckmikebrownIn the spirit of Thanksgiving,I’d like to write about family dinners. Thanksgivingweekend is an awesome time of year, unless youwork retail or hate your family. It’s a time to teach thechildren that us white people did not, in fact, fuckover the Indians, because there was an awesomedinner with Pocahontas and Squanto who taughtthe pilgrims how to gut a turkey or some shit like big Mormon family have drastically reduced thisyear. Just so you know, out of four married sistersand one brother and two step families, I’m the onlyone who spends my Sundays at the bar taking shotsof whiskey instead of shots of sacrament.I did leave my name on the Mormon records, though.Why? In case shit ever really hits the fan, I can tellthe church I’m on the list. And Mormon welfare isthe bomb, yo! And as to my knowledge, I have toactually go to church to get ex-communicated,but whatever. As you can imagine, being the onlyheathen at the dinner table creates some interestingAs soon as I stopped talking to my step dad, Iheard my grandpa say, “That was the best sexI’ve ever had, but I can never eat in a McDonald’sagain.” My mom totally lost her shit and I couldn’tstop laughing. If there’s an afterlife and I bump intoGrandpa Miller in heaven or hell, the first thing I’mgoing to ask him is the set up to that joke.Grandpa was also sent home on more than oneoccasion for making my pregnant sisters cry at thedinner table. In my opinion, the only time you canmake fun of a pregnant chick is if she’s smoking orif she’s a nun. Telling my pregnant sisters that theyneeded to drop some pounds was a little harsh, butthat’s just who he was.With my grandpa’s passing and the rise of socialmedia, family dinner became increasingly interestingfor me. I’ve always done my best to be respectfultoward my family’s values by not drinking boozein front of them and not teaching their kids swearwords. But when they ask me how my weekendwent, I can’t exactly tell them how awesome the lastFucktards show was.During one family dinner, it didn’t take SherlockHolmes to figure out that my family was creepingmy Facebook page. A few months later, they foundmy Twitter feed. If you use your timeline to figure outhow you got so wasted last night, having your bigMormon family follow you isn’t the best thing if youwant to stay in the will. Oh well. I can’t hide my SLUGarticles, and it sure as shit is going to make for someepic future family dinners.With my Mormon mother getting deployed for herMormon mission this month and my dad living outof state, my family dinner obligations with the rest ofdynamics, to say the least.20 SaltLakeUnderGround 21

Let It Be.Words and Photos By Chris Swainstonswainstonphotography@gmail.comKickflip fs board, Ricky Chavez.Nick Martinez in a skate daze.Fakie tailgrab, Levi Faust.Sam Milianta, SLUGphotographer.Bigspin, Matt Fisher.Crowd loving it.Melon, Logan Summers.Dudes, you have some drool on your chin.Josh Marinez and friends at Artoberfest.Backside noseblunt, Austin Namba.Nosebonk, Mike Zanelli.Nollie flip, Danny Souk.Video trance.Josh Martinez has become one of the mostdedicated and motivated skate filmers in Utah.His everyday mission is to get up early and stayout all day, filming. He has spots from Las Vegasto Reno and is never short of an idea on where togo. “I just like filming. I love making skateboardingfilms and working with people that want toskateboard and make something happen,” saysMartinez. When he sets off on a filming mission,his brain starts working the second a skaterthrows down their board. Each trick landed andeach line put together is like a piece to a puzzlelocked up inside his mind. Losing himself insidethat puzzle, there are times when he can feel likea slave driver, pushing the people with whom he’sskating to try something harder. But it works, andhe captures some of the gnarliest skating goingdown by skaters in Utah. Even when they areburnt, busted and broken, Martinez will somehowinvoke one more try out of them that, more oftenthan not, ends up being a make. It’s this type ofdetermination that has lead to his third film, Let It Be.Let It Be premiered at the Inferno Cantina onOctober 7, 2011 at the second annual Artoberfest,an event Martinez put together to showcasethe video, along with other local artists andmusicians. “I saw how many people cametogether for a small video premiere and thought,‘What else could be done to bring more peopletogether and do something better?’” he says.“Artoberfest is for the community, to showcaselocal talent—it’s something for everybody tobe a part of. You can come here and not evenwatch the video, just check out the artworkand listen to the music. I just want it to be fun.”Before Let It Be became a project, Martinez wasworking on a video with Las Vegas filmer GarretTaylor. When Taylor moved to California, thatproject ended. “I needed to keep working onsomething, so, on the side, I started stackingfootage in all HD.” It was around June 2011 thatMartinez saw that the footage he was collectingwas good enough to start putting together avideo. At the time, he was skating with AustinNamba and Danny Souk a lot, going out everyday on extreme missions. “At first we were justskating, out having fun, collecting footage,”says Martinez. “[Then] I saw that I really likedtheir styles. They were collecting footage soquickly that I knew I had an opener and enderpart I could build a video around.” From there,all the other skaters just started falling into place.His attention to detail and drive to put out thehighest quality video possible is what makesMartinez’s video stand out. His choice to film LetIt Be in all HD gives it a crisp look, on par with anybig Transworld video. “I wanted all the footage tomatch and to be as high quality as I could putout,” he says. “I wanted to raise the bar for myselfand for people to take a different look at HDfilming, to take a look at it from my perspectiveand see if they like it.” In the final days of editing,Martinez came in contact with Red Point Digital,a production company that approached himabout doing some skateboarding test shoots withthe Red Epic camera. They worked out a dealtogether and filmed the intro in one day. They onlyhad six hours to work with the camera, so Martinezhad to plan as much as he could the night before.“It was super last minute,” he says. “Whateverwe could get, I just tried to make somethingmake sense.” Besides its $58,000 price tag,what makes the Red Epic camera so unique isits ability to shoot in super slow motion rates upto 300fps. Shallow-depth close-ups show everydetail in a spinning skate wheel, and ultra slowmotionclips reveal every movement of the feetand board as tricks are flicked and caught in theair. It’s a unique view that is rarely seen, exceptin videos with big production budgets to burn.Before the video rolls on, a dedication reel playsfor Martinez’s friend Jake Garrett Waterlyn, whopassed away earlier this year. Martinez says, “Iremember before he passed away, we werealways talking about the Beatles song ‘Let It Be,’so I decided to name it that, as a dedication toJake.” Waterlyn sets the bar for what’s to comewith a 270 board slide down shed rail as the firsttrick in the video. The quick feet and technicalwizardry of Austin Namba follow suit, endingwith a switch bigspin, front nose, front shove-itout. The film continues with Gabe Spotts andLogan Summers, two young bloods who haveno qualms with handrails, flip-ins or flip-outs. LeviFaust is smoother than ice on a skateboard—he’s the most well rounded skater in the video,whether it’s fakie tail grabs in the deep end ofFairmont or nose slides down 18-stair hubbas.Matt Fisher and Ricky Chavez serve up a gnarlyshared part with a bigspin front board as themain course. Mike Zanelli puts down a smoothpenultimate part before Danny Souk pulls outall the stops with seriously impressive skating.Talking about Let It Be does it no justice, but I willsay this to perk your interest: tailslide 270 heelflip.One hundred copies of the video were releasedthe night of the premiere, but, for those whomissed it, copies can be found at Blindsideand Milosport. Just a week after the premiere,Martinez was already on road to Reno for afilming trip and the second premiere of Let ItBe. Martinez says, “I’m going to keep doingwhat I’m doing, making skate videos for aslong as I can and see what happens next year.”22 SaltLakeUnderGround 23

dropped the day before my sentencing.So, officer, tell me: was it right for meto get charged with BATTERY? Wasit right for my ex to get off scot-free?Should I have lied to the cops like my ex?Because if I had been a shit bag liar likehim and not mentioned the “face brush,”perhaps the law would have worked formy benefit, rather than against me.—Born Again VigilanteDear Vigilante BelieverLet me tell you a story:Illustration: Sean HenneferI knew a girl whose bad boyfriendchoices were the cops’ fault. Thisgirl was the epitome of a “victim.”Psychologists have done thousandsof studies on her personality type,those who desire abusers … andcollect SSI.Dear Cop,I really fucking hate cops.I haven’t always felt this way about thelaw and its officers, but a few years ago,something happened that would foreverstop me from dialing 911. I’m not a dirtbag, but I fell in love with one once (okay,maybe a few times). One night, I wassitting in his bed as he played Nintendowith some friends in another room, andI found out he’d been unfaithful. I calledhim into the room and told him I knew,after which he laughed and replied,“So what?” Frustrated and hurt by hisreaction, I did something I’ve never everdone before: I slapped him. When I sayI slapped him, I don’t mean a handprinton-cheek,silver-screen slap . Like Isaid, I’d never done it before and I wassitting, so it was more like a face brushwithout any follow through. You’d havethought I’d just tried to stab him by howhe reacted, though. He took my phoneand smashed it against the wall, hedragged me off the bed, pushed me intothe wall, then back onto the bed, wherehe proceeded to shove my face into themattress as he threatened to kill me. Helet go, and I ran out of his house as heand his roommates yelled obscenitiesand threats behind me.Once home, I borrowed a phone andcalled 911, afraid that he would showup with his buddies and well … try to killme. The cops arrived, I explained whathad happened, they scoured the area tomake sure he wasn’t around, then oneof them left to go talk to him. When thecops returned, they told me that he hadtold them another story: that I had “repeatedlyhit” him, and he hadn’t touchedor threatened me … and they believedhim. The rest is kind of hazy, at that pointthe adrenaline rush had subsided anda strange numbness took over as I wascharged with battery and the cop tookmy fingerprints. I remember asking himwhy, and if my ex was getting charged,too. He said something about me beingthe instigator, and that no, my ex didn’tdo anything wrong and had the right topress charges against me.After three court dates, my court-appointedlawyer (who was in complete disbeliefthat I was in this situation) got the caseI believe this girl wanted help inimproving her love interest choices.She admitted she had a problem byindicating she had chosen poorlyon multiple occasions. Admittingan addiction (desiring pieces of shitfor boyfriends) is the first step. Thesecond step is improving blameaccuracy.A sworn, impartial peace officer arrestedthis girl for battery when sheadmitted to slapping her boyfriendduring an argument. And the fine,upstanding young man that he is,he denied smashing her phone orsmooshing her face in the bed as shealleged. In fact, this most excellentparamour claimed she did all thesecrimes herself when she lost controland slapped him, “that psycho bitch.”Now cops can arrest based on probablecause supported by evidence.And, they can’t arrest for misdemeanorcrimes not committed intheir presence. So, this girl’s lovingboyfriend actually arrested her.If this girl had neglected to tell thecop about a “face brush,” he wouldhave informed her, and her boyfriend,that there is no evidence to arresteither party and for them to stay awayfrom each other.This girl got a public defender whobelatedly realized there is no physicalevidence of any crime being committed,only a statement of guilt by heremotional and dramatic client. Theprosecutor got the case and realizedshe had no physical evidence, onlya statement by a very dramatic, multifaceted girl. Both lawyers agree,“no harm, no foul,” and the case isdismissed. This girl thinks her lawyeris a god. (I’m just glad she didn’t putout any money for this remarkablelegal defense).Vigilante, I believe this girl successfullyeliminated drama and piece ofshit boyfriends in her life. I don’tknow her name, but I heard shefound religion.Sincerely, Dear Abby Cop24 SaltLakeUnderGround 25

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Better hope Girl in a Coma is on your side in a bar fight.Photo: Josh Huskin,Watch Out Barbie, It’sGirl in a ComaBy Esther Meroño • esther@slugmag.comIn a world where bleached blondes in heels singing highfructosegarbage are rapidly polluting the airwaves, Girl in aComa is here to save us with a healthy dose of rock n’ roll.Based out of San Antonio, Texas, the trio is comprised ofNina Diaz on vocals and guitar, her sister Phanie Diaz ondrums and long-time friend Jenn Alva on bass. Together,they exude a sound all their own, breaking through theborders of any specific genre and picking up the pieces tocombine them into the inimitable Girl in a Coma.Though Girl in a Coma have the talent and drive to gain rockstar success without a fairy godmother, the band’s propulsioninto stardom is a true Cinderella story—a brown-eyed, guitarcladCinderella with an attitude, that is. I gave Phanie a call inSan Antonio just before the band set out on tour in support oftheir latest and fourth release, Exits & All the Rest, out Nov. 1 onBlackheart Records, to hear her side of the tale.28 SaltLakeUnderGround 29

Playing in bands together since thelate ’90s, Alva and Phanie recruitedNina in early 2000 after hearing her sing and playguitar. “Even though there was an eight-yeardifference in our ages (she was 13 at the timeand Jen and I were in our 20s), we decided itdidn’t matter, she was talented and we’d makeher the lead singer,” says Phanie. Making a namefor themselves around San Antonio with theirenergetic live show, the band was recognized bya cable television network and invited to be in adocumentary about up-and-coming bands, whichlanded them in New York in 2005. “The show wassupposed to end with Joan Jett showing up andsurprising us with advice, and that would be theend of it. But what happened is that she came toour show in New York and she really liked us, andas soon as we were done with the gig, she signedus to Blackheart,” Phanie says.The opportunity paved the way for national, internationaland even celebrity recognition. Since then,Girl in a Coma has played gigs with Joan Jett, donean impromptu performance of “Cherry Bomb” withCherie Currie of The Runaways at last year’sSXSW and been personally asked to play as openersfor Morrissey’s 2007 tour (you may recognizethe name Girl in a Coma from The Smiths’ song“Girlfriend in a Coma”), to name a few. “It’s crazy,it always just blows our minds that these peoplewe grew up listening to want us to go out with themnow, it comes full circle,” says Phanie.Girl in a Coma wouldn’t be where they are withouttheir wide-ranging influences, a combination ofgenres and musicians that Phanie attributes to theconstruction of their unique sound. “Jenn’s a bigrockabilly fan and she’s obsessed with Elvis andBuddy Holly, Patsy Cline. I grew up listening toriot grrrl and punk … we introduced Nina to bandsand Nina finds her own bands. She’s really intoJeff Buckley right now and Björk. I think eachof us hanging out with our own groups, discoveringbands and coming back to each other andexchanging music had a lot to do with the blend ofour sound,” she says. The band members’ Mexicanand Tejano roots are also prevalent in theirmusic, an ingredient that’s highlighted in many oftheir music videos, featuring border-town imagery.Phanie credits San Antonio’s rich culture andmusical diversity: “There’s a big embrace of musichere and I think that influenced us to kind of goeverywhere with our music. We don’t pigeon-holeourselves and think, ‘This is the kind of rock we areand this is all we’re going to play’ … You hear rock,but then you hear that Tex-Mex sound.”this city [would become], and our backgroundand our culture really embraced it and pushed usforward,” says Phanie. She describes the cultureshe grew up in as traditional and patriarchal, withwomen as the caretakers rather than the “strong,up-front force,” transforming their musical successinto groundbreaking cultural inspiration. “We didn’trealize how important it was, what we were doing,”says Phanie. “[We didn’t know] what doors wewere opening until we had little Latina girls comingup and saying, ‘Oh, you look like me and you’re ina rock band and it’s cool and I can do it, too!’”It’s difficult to imagine anyone imitating Girl in aComa’s diverse discography, though. From theirstudio debut, Both Before I’m Gone, throughtheir collection of iconic covers in Adventures inCoverland and now their latest, Exits & All the Rest,Girl in a Coma is a band’s band. The new recordis not one to be ignored. Recorded in analog andproduced by Mike McCarthy (Spoon, …Trail ofDead), Exits & All the Rest is a little less rough thansome of their previous work, but what it lacks inangst, it makes up in sincerity and conviction. “Wehad a crazy year, a more serious kind of year. Eachof us personally going through stuff, and Jenn hadlost her mom, so a lot of the songs on the recordare just more serious,” explains Phanie. “I thinkbeing able to sit together in a room versus beingseparate and using ProTools and all that—sittingtogether, facing each other—we were in this moodtogether, and I think that had a lot to do with thisnew sound that came out on this record.”The record is definitely one you’ll want to seeplayed live—their shows are, after all, what set inmotion their inevitable success. Phanie attributesthis to the band members’ closeness: “I thinkpeople can see our chemistry and our connectionwhen we play on stage. It’s kind of like beingborn with two twins and we can finish each other’ssentences. We know what we’re feeling on stagewithout saying anything and how to attack songstogether, and I think people can see that.” Ofcourse, a band made up of sisters and a bestfriend isn’t always going to be cupcakes andrainbows. “We can get into some really bad fightsand kick each other’s asses, but at the end of it all,because we’re so close, we know that nobody’sgoing anywhere,” says Phanie.There’s no doubt the future looks bright for thisgroup of talented musicians, and they have noplans to stop. The band hopes to one day tour withThe Pixies and Sonic Youth. Phanie also saysthat Nina has been itching to collaborate with FaithNo More lead vocalist Mike Patton. “That’s abig goal for Nina. She meets people who know ofhim and she’s always like, ‘Can you let him knowthat I love him and I want to do a song with him,’so hopefully the word will get around eventually,”she says. The band looks up to Sonic Youth whenthinking of their long-term career goals, though,and their ceaseless years of hard work touringand releasing albums. Phanie concludes simply,“That’s what we want to do, have a bunch ofrecords under our belt and play shows.”Check out Girl in a Coma at Kilby Court on Nov. 25to get a taste of something good and new—don’tjust take Joan Jett’s and Morrissey’s word for it.Girl in a Coma’s latest release,Exits & All the Rest, out Nov. 1.Aside from playing music difficult to categorize, theband’s members also set Girl in a Coma apart fromother musicians. A trio of females, all Latinas andtwo-thirds gay (Alva and Phanie are openly queer)playing rock n’ roll? Way to stick it to The Man. Thegroup did it with the full support of the community,however. “We didn’t know, starting this band andbeing three Latinas going on the road, how proud30 SaltLakeUnderGround 31

By Alexander OrtegaOn two occasions, a pre-adolescent TylerJames Densley fell asleep to a rerun of amovie on the USA network, where a highschool teenager drinks magic prune juice andgains telekinetic powers. Both times, Densleysubsequently awoke in a dream-like state thathe simultaneously hated and loved: Time sloweddown, his vision blurred and he would stumble tothe bathroom, dry heaving. He somehow figuredout that, in order for the dry heaving to cease,he had to concoct nonsensical math problemsin his head, and then speak these formulasaloud. Densley, now an LSD shock troop,retrospectively refers to these twin experiencesas his “first hallucinations.” Growing up as astraight edge, guilt-wrecked Mormon boy fromMidway, Utah, Densley was certainly a backwardletter in a spell-checked town.Maybe these spontaneous hallucinations makemore sense since Densley discovered that heis dyslexic about a year ago. Looking backon these strange childhood occurrences, hesmirks and says, “I like the letters.” Densleystill finds solace in producing odd graphemecombinations, which now accompanypsychedelic images of repeating, grimy mouthsand early 20th-century-styled cartoons within hiswork as a visual artist and tattooer at CathedralTattoo. In regard to his artistic style, Densley’sapproach has formed as a composite of variousfactors in his development into an adult andonward. “Growing up Mormon and being straightedge most of my life, I had these weird inklingsto do hallucinogens,” says Densley. “I always,in the back of my mind, thought that I wouldlike to hallucinate—be able to see outside ofwhat I know, be able to see a cartoon in myhead.” Densley followed this desire and begantaking hallucinogens. What he found werecommonalities between what he liked aboutAmerican traditional tattooing, his fondnessfor cartoons and his psychedelic experiences.He says, “I like things that have a nice initialgraphic sense, but it’s not until looking at itfor hours on end or in a completely alteredmindset that you really appreciate it and you seeeverything.” Densley has acted on mixing histastes in tattooing with a cogent style that is allhis own—one might notice the hallucinogenicinfluence after looking at one of his skulls,whose eyes project stars with translucent, redalexander.r.ortega@gmail.comtails, which appear three-dimensional. “I’mkind of shocked that people haven’t tried toput that into tattooing … [Psychedelia andtattooing are] very closely knit. It’s like beingincredibly intentional and making the mosteffective product by simplifying as muchas you can.” In light of an upcoming zinethat he is releasing, Densley will usehis altered mind states and themedium of tattooing to exposeSalt Lake City to a dose of hisown glorious hallucination.Densley witnessed his oldersiblings’ friends gettingtattoos when they came ofage, and knew that he wantedto be a tattoo artist when hewas 12. “I’d always drawn. Itwas like a compulsive thing to dowhen I was younger … When I foundsomething that I really liked, and wanted to worktoward, that thing was Americana tattooing,” hesays. Additionally, he hated Midway as a child.When he ventured out to California a coupleof times to see hardcore shows, he fell in lovewith it as a mecca of everything that wasn’t hishometown. After graduating at 16 by “cheatinghis way through a Mormon high school,” heinitially settled in Santa Monica, managedhealth food stores and began tattooing whenhe was 19. Densley ended up in a shop in SanDiego, the city in which he would cultivate histattooing skills and use as a home base toperiodically visit Tijuana, Mexico to performamateur dentistry. In 2004, San Diego gave birthto hardcore band Lewd Acts, with Densley onvocals. Once he found that he could controlpeople and direct their attention as the vocalistof an aggressive band, he took advantage of thelimelight and “would do insane, self-destructivethings,” he says. “I had 12 staples in my headafter trying to break a champagne bottle over myhead because I was playing a show drunk andon acid, and thought it was a beer bottle.” Afterattempting to break the glass over his craniumtwice, his “vision went hot … My face was cakedin blood,” he says.“Part of the reason I left San Diego was becausethat band was done,” says Densley. “I thinkthat was keeping me there for a long time.” TheSketchesfrom TylerDensley’supcoming zine,Acid Math(LSD > LDS).belligerent screamer found thathe had become a caricatureof himself onstage, whichscared him into moving to SaltLake about a year and a halfago. Once he arrived back tohis home state, he hit what hetextually refers to as a “(s)lowpoint.” He says, “Not being anestablished tattooer here made itso I wasn’t busy. I honestly don’t knowwhat to do with my time if I’m not tattooing allday.” Densley resorted to superfluous daydrinkingand marijuana-smoking in order to passthe time. He recalls searching for ways to gethimself to fall asleep at night, being generallyrestless all the while. Through this slump ofartistic inertia, however, is where Densleyparadoxically rediscovered his stride. Ratherthan being constantly dictated what his artwould depict from tattoo clients, he reformed hisstasis into a canvas onto which he reproducedhis inner, acid-stained eye. He says, “It was[also] good because I was drawing a lot and Iwas painting more, and it allowed me to exploremore aspects of my illustration side—and dothings for myself. It had been a very long time[since] I could sit down and just draw and paintfor myself.” Upon signing on with Cathedral,Densley soon found that his Salt Lake clientelewould allow him to ink their skin with work thatwas uniquely his own. As somebody who feedsoff a client’s trust in his vision as a tattooer, thiswas a perfect predicament for Densley. ThoughDensley is not above putting what a client wantson their own skin, he feels that he creates thebest product when the client allows him toexercise his expertise as a seasoned tattooerand impart his knowledge unto them. He says,“If I’m not putting everything into each tattoo,then I don’t feel like I’m doing justice to myself asa tattooer or the client.”Since Densley’s creative reawakening, hehas ventured to recreate what he sees inhis hallucinogenic experiences throughvarious visual media. His upcoming zinestrings together experiences as Densley hasseen them from within his hallucinogenicconsciousness, starting from his initial, nondrughallucinations as a child: Densley callsit Acid Math (LSD > LDS). The inequalityequation of “LSD > LDS” indicates thespirituality that Densley unearthed withinhimself via hallucinogens, which was neversupplied to him through the LDS church. Hesays, “Religion was just a whole lot of guilt,and hallucinogens have made me get rid ofa lot of that guilt … You kind of realize yourplace in the universe—you’re nothing. It tookme feeling that way to [be] … OK with certainaspects in my life. Acid has brought me to astate [that] I don’t think I could’ve got to with asober, conscious mind.” Densley’s covenantto this sense of inner being has been thisexperiment to translate his subconsciousthrough the loopholes of a hallucination as itcomes out through his drawings, paintingsand writing. “The things that I think aboutwhile hallucinating are very linear, and itkind of comes out,” he says. “I don’t liketo have any preconceived notions of whatI’m writing or drawing … Later—it could bemonths later—I can look at it and dissect mysubconscious.”One example to draw from as to what toexpect from Densley’s visual musings maywell be the use of mouths in his work. Heexternalizes his preconscious disgust withhis own mouth by illustrating foul, rotting mouthswith bumpy tongues in his tattoo work. He says,“I actually hate my mouth … That’s my fuckinggross fractal.” A similar dynamic comes to playwith Acid Math—preliminary sketches displayDensley’s cartoon work (e.g. a dog using a giraffeas a chair) with an enigmatic morbidity: “There’ssome innocence to it, but I don’t feel like I’m thatinnocent, so when it comes out, it has aspectsof other things,” he says. Additionally, Densley’svisual fixation on graphemes will shine throughas he incorporates snippets of language in thesepieces: “I love letters and have fallen in love witheverything that you can do with lettering … It’swriting, but not. The writing is incorporated [into]Photo: Jesse Anderson“If I’mnot puttingeverything into eachtattoo, then I don’tfeel like I’m doingjustice to myself asa tattooer or theclient.”Photo: Jesse AndersonAcid Maththe drawing.”strings togetherDensley hasexperiences asundertakenDensley has seenthis workthem from withinin order tohis hallucinogenicsatiate hisconsciousness, startingneed tofrom his initial, nondrughallucinationsconstantlybe creatingas a child.and making forhimself, but alsoto share his finalproduct. “Even though Inever go into it with the idea that I hope peopleidentify with it, in some regard, I hope that theydo,” he says.Upon Acid Math’s release, Densley will takea break from acid. “This whole experiencehas been an experiment to see the limits ofmyself, but I don’t want to be caught up in it.I realize I’m glorifying it to a certain degree,”he says. He will unleash his zine on Nov. 11at Copper Palate Press (coincidentally, 11is a number with which Densley obsesses).It will consist of visual work such as screenprinting, letter-press, black-and-white photocopy, color photo copy and transparency—asmixed-media as he can get it, but with little“tattoo-y stuff.” As far as the price goes, thefinal cost will be just as much a surprise tohim as it will to us—“I don’t know, fuckin’10 bucks? 20 bucks? We’ll see,” he says.For more information, contact Densley only should you pick up Acid Math(LSD > LDS)—because it’s sure to beaesthetically engrossing—but also, lookinto Densley’s paintings and his tattoowork to get the all-around experience of hishallucinatory perceptions. He’s ardent inwhat he’s doing—“A day that I’m not creatingis not really a day,” he says.32 SaltLakeUnderGround 33

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The Art of FlightBrain Farm Digital CinemaStreet: 09.08After the success of That’s It, That’s All,some doubts began to surface as towhether Travis Rice and company’ssecond film, The Art of Flight, wasgoing to live up to the hype. Rice, in aninterview with SLUG, stated that onemain function of this film was to bridgethe gap between the core snowboardingcommunity and the mainstream.This time around, the crew shot onlocation in Alaska, Jackson Hole, Chile,Patagonia, British Columbia, Aspen andRevelstoke. When asked which sectionof the film he was most proud of, Riceresponded with Revelstoke, whichseems fitting as it’s the last section ofthe film. The soundtrack was masterfullyput together and the shots wereperfectly centered on it, making it moreof an experience than just a snowboardfilm. “So much of [the film] was centeredaround cinematography, our daysrevolved around catching two minutesof the right light in order to shoot.Everything we did we made a priorityto hit during the right light,” said Rice,and after watching the film it’s clear thatthose aren’t just words. The Art of Flightfeatures crisp, smooth heli shots frombehind the Cineflex HD Camera Systemand incredible slow motion capturedwith the Phantom Flex camera. Couplethis with Curt Morgan’s repute forperfection and talent behind the camera,and you’ve got a snowboard filmthat covers all the angles, so to speak.–Chris ProctorDefenders ofAwesome/AmmoCapita/32Street: 09.0232’s Ammo, which features their AMteam riders, was the first to be shownto all the eager tweens and teens thatshowed up to the world premiere inSalt Lake City. With about 30 minutesof fresh city spots and backcountrybooters, people were stoked,especially with parts from local riderslike Chris Brewster (with his 50/50nollie to front board rail transfer) andBrandon Hobush (who has notoriouslystylish front boards). Ammo wasa good glimpse of the fresh new talentof some up-and-coming riders. Aftera few yells and lewd comments aboutdrunken sisters, Defenders of Awesomebegan. Scott Stevens (Atcha Boi)had the first part—with his signatureskateboard-like, one-footed tricks, hetakes snowboard creativity to the nextlevel. Who else would board slide upa five-kink handrail? Local Cale Zimahad a killer part as well, with bombdrops that would shatter the averageperson’s knees into shards of bone—like the 15-stair close-out rail gap thathe casually floated over and ended witha smooth, flat landing. Jess Kimuraand Laura Hadar held it down for theladies. Kimura’s part was one of thebest female parts I have seen in a while,especially when she 5-0s a giant corrugatedmetal tube then throws a smoothbackside 360 off it. Dan Brisse’s partis full of front boards off of a box on topof a 30-foot cliff, front side 450s overthe rail gardens double rail gap, andanything else that is big and ridiculous.The rest of the Defenders of Awesomeriders included Brandon Cocard, TJSchneider, Mike Rav, Andrew Burns,Dustin Craven and Phil Jacques. Runto Milo or your local shred shop andpick up a copy of each flick, it will bewell worth the cash and have you wishingit was winter time. –Jeremy Rileyathletes Cody Barnhill and WileyMiller prove their positions in the skiworld with a collage of stunning performances.Opening up with a tribute toHot Dog … The Movie, the entire 4FRNTcrew displays their hop-turning prowessand entices the audience with a quadburningintro. The film’s productionvalues are surprisingly good for a firsteffort. Closing with a tribute to the late,great C.R. Johnson, Loyalty showsthe world who we are and why we ski.–Sean Zimmerman-WallThe Ordinary SkierOakley and 1242 ProductionStreet: 10.03skiers of the era, but his style was metwith limited enthusiasm. It took manyyears and a lot of slammed doors beforehe finally received a paycheck fordoing something he loved. Partneringwith Oakley Optics in his early twentiesallowed him to pursue his goals andexpand the free ski discipline. Hisprowess in epic terrain has led himaround the world and kept him in thecompany of skiing legends. FromAlaska to Chile, he has set the bar forbig mountain riding. Travelling to film inthe Chamonix Valley, he is joined by thetalents of Kye Petersen, JP Auclair,and the infamous Glen Plake. Alongwith their tenacious guide, Pete, thecurious quintet explores the untamedwilderness of the Alps. With intermittentbouts of overwhelming terror, the crewshows the audience how the sport hasevolved. –Sean Zimmerman-WallStanding SidewaysBurtonStreet: 10.05When you’re the Yankees of the snowboardingworld, you have the cash flowto buy yourself a dream team stackedwith the best jibbers, pow slashers andhalf-pipe slayers. And that’s exactlywhat Burton did. The diversity of talenton the Burton team is really what makesStanding Sideways shine among thisseason’s releases. Standing Sidewaysopens with Kazu Kokubo’s part hittingyou like an icy face shot early in themorning and doesn’t stop until after thecredits have rolled. Kokubo is knownfor slaying the half pipe, but his partproves he holds it down just as well onpillow lines. His interesting choice oflines confirms his all-mountain prowessand stokes the hunger for face shotsand cliff drops. Jeremy Jones provesthat this isn’t football—over 35 doesn’tequal retired. Wallride redirect 540shove it? Yeah, he does it. Jones mayalready be a legend in the snowboardinghistory books, but this part says weshould probably leave him a few moreblank pages. If you’re not drooling yet,the jib-heavy middle segment will getthat saliva flowing. Zak Hale, AlexAndrews and Ethan Deiss may bethe rookies of the Burton team, but youwouldn’t know it from their parts. Themovie finishes with some serious mountainlovin’ from Terje Haakonsen andJussi Oksanen. Standing Sidewaysreminds us that whether we’re old oryoung, jibber or pow shredder, we allstand sideways. –Katie PanzerThe world of extreme skiing has itsshare of notable athletes, but few havethe cult following of Seth Morrison. Indirector Constantine Papanicolaou’s(CP) latest flick, the rise of one of theplanet’s most prolific skiers is documentedin a real and dramatic fashion.Growing up in the ’burbs of Chi-city,Morrison learned to ski on man-madehills with primitive gear. Abandoned byLoyaltyhis father at age six, Morrison moved to4FRNTColorado with his mother and sister toStreet: 09.25start a new life. As a ski racer, MorrisonLocal ski manufacturer, 4FRNT, debuted never fit the mold of the typical high-levelits first full-length feature film and thecompetitor. Although he had a strongreception was overwhelmingly positive.inner drive, he was more interested inEdited by Sam Peters, this film free skiing around the mountain thanshowcases a myriad of 4FRNT athletes practicing. By the time he graduatedslaying a dynamic mix of urban and big high school, his motives to become amountain lines. “We wanted to give all professional skier were clear. His punkour athletes a chance to display their rock purple hair and lack of regard forskill in this film,” said Phil Herbert, the personal safety set him apart from otheronline brand manager for 4FRNT. Local38 SaltLakeUnderGround 39

Boyz in the ‘Satch:The DubSatchCollectiveBy Mike Reffmikereff@gmail.comOliver Carston and ElielHindert making fresh linesin La Parva, Chile. Photo:Juan Luis de HeeckerenWhile I normally spend my summers suckingdown slurpees at the Rose Park Skate Park,this year was different. I packed my bags andfollowed winter around the globe to La Parva,Chile to organize a new international ski event,Eye of the Condor ( This iswhere I first met the young Salt Lake crew knownas the DubSatch Collective.A lanky and slightly nervous 18-year-old namedLeo Ahrens walked up to me and muttered,“Umm … Mike, our crew has a little bit of aproblem here.”“What’s the problem?” I asked, hoping that noneof the team members had come down with anasty case of syphilis—STD medication can bevery expensive in the Andes.“Our photographer could not make it due to fullflights, our videographer is in pursuit of moremoney, but bottom line is none of them made ithere with us.”I stopped for a minute in a moment ofcontemplation. Usually when a team shows upto a photo and video contest, they bring two keyelements: a photographer and a videographer.Unfortunately for the DubSatch Collective, theyhad neither. I knew of these guys, had emaileda bit and seen some of them skiing in theJunior Freeskiing Tour events at Snowbird andCrested Butte, but I really had no idea what theywere capable of until the group of DubSatcherscomprised of Ahrens, Carston Oliver,Zach Halverson, Eliel Hindert and Chileanphotographer Juan Luis de Heeckeren tookfirst place in both the video and photographycategories at Eye of the Condor.The founding members of the crew are SamCohen, Nate Cahoon and Ahrens, all SLCnatives with parents who dreamed of having theirkids one day enjoy the snow as they did. Thepast few seasons proved to be monumentalfor these guys. For years they have been thelittle kids building jumps off of Wildcat at Alta.As time went on, people started to realize thatthese kids had the best lines, built the bestjumps and appeared to be having the most fun,so people started to follow them around. TheDubSatch Collective grew with more memberssince their inception in 2009, and with theirlatest web videos, competition results and printcoverage, the world is finally getting to see thelatest talent that the Wasatch has cultivated. Iwas able to track these guys down and ask themsome questions about SLC, the crew and whathappens when you show you up to a film contestwith no filmer.SLUG: Big or Little Cottonwood?Ahrens: Pretty much everyone that is part ofDub was raised up Highway 210. LCC [LittleCottonwood Canyon] for life!SLUG: What is it like growing up amid such astrong ski scene here in the Wasatch?Ahrens: We are incredibly lucky to be raisedin such an amazing community. Our parentsall work in LCC and I think that set our destinybefore we were even born. The amount of talentin SLC is insane, and at a young age, locallegends such as Dave McReynolds and RobGreener took us under their wing and showedus the light. It’s cool now, because on any givenday, you’ll be out skiing with guys you grew upwatching in ski movies as a kid.Cohen: I was always around the ski industryas a young kid. My pops [famed photographerLee Cohen] used to shoot all of the locals whoI would look up to, and getting to ski with themgrowing up really helped shape me as a skier.SLUG: How did the DubSatch Collective comeabout? Why not just focus on yourselves asindividuals?40 SaltLakeUnderGround 41

Cahoon: I guess it all started when Leo andSam started filming in 2009 around Alta withtheir GoPros and called their videos Livin’Local. After a while, I thought it would be agood idea to pick up a camera and film themadness these kids were throwing down. Weall got together and decided we wanted to filmsomething that the ski industry hasn’t seenyet: A crew of young, big-mountain skiersshowing their love of the backcountry andwhat it is like growing up skiing the “greatestsnow on earth.” All we needed was a newname. Our good friend Sean Don came upwith the name DubSatch Collective, and therest is history.SLUG: In the past two years, the crew hasbeen gaining momentum and obtainingattention. Gracing the pages of PowderMagazine’s “Barely Legal” list, winningfreeskiing events and straight-up crushingweb videos. What has this done for the crew?Cohen: With all the exposure you are talkingabout, it has really helped DubSatch landnew sponsors and meet more people who aretaking an interest in DubSatch and wanting tohelp us make it happen. I could say the samething for myself. More exposure has helped megain new sponsors and get people involvedwho want to help me make it happen as well.SLUG: With the Internet today, we areconstantly bombarded with new edits, skimovies year after year, new tricks, but generallythe same format. How is the DubSatch’s newweb series going to stand apart from the rest?Cahoon: We want to give more perspectiveon how much effort and serious danger isinvolved in getting these backcountry shots,along with taking our viewers with us as wetravel around the nation. We ultimately want tomake our viewers feel what we feel when weare out traveling around these desolate places.Documenting all the stoke, struggles andsuccess we encounter along the way.Eliel Hindert skiing the peaks of La Parva,Chile. Photo: Juan Luis de HeeckerenSam Cohen hitting a jump inthe familiar Wasatch Mountains.Photo: Lee CohenOliver Carston soars over Chileansnow as part of Eye of the Condor.Photo: Juan Luis de Heeckersenexcited about! First off, DubSatchCollective is teaming up with Wasatchbasedcompany, The Levitation Project[], to producea high-quality webisode series that wehope will make waves in the industry![The Levitation Project] will also behelping us put out T-shirts, hoodiesand facemasks for the 2011/12 season.We are also teaming up with anotherWasatch-based company, JoystickLeo Ahrens soaring above the Chilean flag at Eye ofthe Condor. Photo: Juan Luis de HeeckerenPoles []. Our crew workedwith the Joystick designer to create a really coollooking Dub/Joy ski pole that will make you away better skier and get you more chicks!Salt Lake City is a mecca for the snowcommunity worldwide. It’s this communitythat was able to raise these youngsters to besome of the top skiers today. The saying that ittakes a village to raise a child cannot be morefitting for this crew. Since Cahoon, Ahrens andCohen formed thecrew, they havebeen incorporatingtheir friends into theCollective to showthe world what theWasatch youth canbring to the table.To be raised hereand have Big andLittle CottonwoodCanyons as yourplayground can onlymean one thing:You’re going to growup to fucking crushit—and these guysdo. Follow themat This summer the Collective had what Ibelieve to be a monumental trip for the crew.You guys came down to South America andentered a photo and video event with neithera videographer nor a photographer, andsomehow won both disciplines. How the helldid that happen?Ahrens: Yeah, everything kind of hit the fan twoweeks before the contest, but we were alreadyin South America so we had to make somethinghappen. We ended up finding some local guyswho claimed to be good at photography andfilming, but we had no idea if they actually were.It ended up being the best thing that couldhave happened. With the help of those two, Iswear the whole country of Chile backed ourteam! We ended up making all these crazyconnections and produced some amazingphotos and video.SLUG: Word on the street is that DubSatch hassome new product collaborations with someMembers of the Dubsatch Collective withLeo Ahrens making his way down a slope in Utah’sSLC companies this winter …their Chilean counterparts at Eye of theown Wasatch Mountains. Photo: Lee CohenAhrens: Yeah, yeah! As of right now we haveCondor. Photo: Juan Luis de Heeckerentwo collabs in the works that we are super42 SaltLakeUnderGround 43

Illustration: Ryan PerkinsJessica Gilmore Can DoAnything Better Than YouBy Esther Meroñoesther@slugmag.comInstead of listening to my slow asswhine about boys and bicyclesthis month, you have the pleasureof reading my interview with oneof Salt Lake’s most badass babeson a bicycle—scratch that—mostbadass HUMAN pedaling in theRocky Mountain West: JessicaGilmore. ’Nuf said.are you using to beat them? Howdo I get some?Gilmore: Being fast is fun. That’sat least 70 percent of why I keepriding. And chasing/being chasedby cute boys on bikes aroundtown is my favorite way to getfaster. But seriously, using the superweighted male/female ratio tomy advantage, I always have guysto ride with and there’s alwayssomeone faster to catch up to.The best way to train is to get outand ride. Every day.SLUG: You placed first in thewomen’s division in Goldsprintsat Interbike in Vegas this year,and second overall. You also wonthe women’s Kopchovsky Catand you’ve placed in the top fiveat almost every other alleycat,especially the super gnarly ones... Anything else I’m missing?Gilmore: I was first woman inWolfpack Hustle’s King of VegasAlleycat this year, and a coupleyears ago, I was second woman(first fixed!) in the Rad Massaker(annual Bay Area alleycat). It’s funriding out of state—I’ve found thatSLC has trained me pretty well.SLUG: Though I have my suspicions,I assume you didn’t comeout of the womb on a road bike ...How did you get into cycling?Gilmore: After walking this city fora year, I got a bike to get me therefaster. It was a gradual thing:claiming the streets, learningsimple bike mechanics, buildingmuscle and endurance. My firstroad bike was pretty lousy, but Isoon met Davey Davis, a localbike enthusiast, who helped meget on a better one. I think havinga bike you like is key.SLUG: You’re a lot nicer than I amabout these things, but don’t pretendlike there’s not an extra specialkind of satisfaction in knowingyou’re faster than a bunch of boys... What does that feel like?Gilmore: Sometimes being fasterthan boys or passing them onthe streets seems to set off areally competitive alarm, but witha playful, friendly attitude, I canusually find respect. It feels goodto be treated as an equal on thestreet—my femaleness is exaggeratedin a really positive way.SLUG: Do you have any advicefor girls who want to get intocycling and are intimidated? Isthat something that you had toget over?Gilmore: My advice would be todrop high expectations, especiallyof yourself. Don’t get on abike and expect to get up to theU without breaking a sweat. I’mstill out of breath every day. Giveyourself time to build up strengthand confidence. Ignore theintimidating boys in the shops oron the streets, they’re just nerds.Be confident but willing to learnfrom them.SLUG: You’re really fast: fasterThere you have it, folks. If youthan most of the guys in the urbanever find the energy to catch upbicycle community. In their words,to this speed demon, say hello—what kind of female witch magicshe’s friendly enough to slowdown and return the greeting.44 SaltLakeUnderGround 45

ozzy henning:master of styleand finesseBy Chris Proctorchrisproctor@slugmag.comPhotos by Gage ThompsonName: Ozzy HenningAge: 21Hometown: Heber, UTSponsors: Rome, Cassette, HFBA, EpicYears Riding: 9When snowboarding in Utah, you canexpect to encounter hordes of grade-Arippers, from the old dirty pow-hounds tothe child prodigies that have overtakenour terrain parks. At Park City MountainResort, there’s one snowboarder thatstands out from the rest, and his name isOzzy Henning. Henning’s riding has beenraising eyebrows around the Salt LakeValley for nine years, both on a skateboardand a snowboard. Henning looks moreat home on a board than he does on hisown two feet, and that says a lot when oneconsiders his extremely technical style. You’llnever see a simple board slide from him withoutsome sort of revert, tweak or spin thrown intothe mix. Some of his edits have appeared and snowboarding.transworld.netand have over 10,000 hits. Henning has takenfirst place at a number of skate and snowboardcontests around Utah for the past few years,including the SLUG Games’ Night Riders lastwinter at PCMR, and an Honorable Mention atthe Summer of Death Pajama Jam skate contestjust a few months ago. From the sound of things,this 21-year-old ripper is just getting started. Ona cloudy October evening, I met up with him atTrailside Skate Park in Park City to skate and aska few questions.SLUG: Favorite trick on a skateboard?Henning: Probably the ghetto bird. Took meabout six years to learn. The ghetto bird is a hardflip 180. Once I learned hard flips I just startedtrying to spin with it. One day, I got it.Frontside board slide.SLUG: Favorite trick on a snowboard?Henning: My favorite trick is probably back 180to swack [switch] 180 out on rails. I like it ’causeit takes control on the board to do it.SLUG: Favorite place to skate?Henning: The U of U. I like skating the shed rail,just a mellow 8-stair rail, and all those benches.Pretty much everywhere at the U is good.SLUG: Favorite place to shred?Henning: Brian Head. I’ve only ridden thereonce, but it was so sick. Good snow, no people,just open range of hauling ass.SLUG: Tricks you’re working on right now?Henning: Spins in and out of tricks, both onskate and snowboard.SLUG: How did you first start skating? Wheredid you skate in Heber before they built the skatepark?Henning: I first got started with my brother. HeBackside Smith.Indie grab hip transferinto the a World Industries deck andI, being the little brother, wantedto do it, so my mom went and gotme some Wal-Mart deck. I wasstoked! My brother and I wouldjust go skate a school we calledthe Junior High, [a] super sickspot and anyone who skated wasthere for sure.SLUG: What do you hope to bedoing in the future?Henning: Hope to just go hitall sorts of different featuresanywhere. If I had the chance togo somewhere and never comeback, I probably would. I justwant to shred everything all day.SLUG: What’s your website,,all about?Henning: The website is just my buddy,Theo [Muse] and his filming abilities and mysnowboarding. Just going to make little editsevery week and have fun with it.SLUG: What’s a perfect day of snowboardingto you?Henning: A perfect day is a bluebird pow day, ofcourse. Then by about 2 p.m. it’s tracked out, soyou go to the park and they just groomed all thetake offs and it’s soft snow all around. That’s apretty damn good day.Check out Henning’s riding on his website, He will most likely bedominating most snowboard contests that comethrough the state this winter. If you aren’t alreadyfamiliar with him, just look for the kid doing frontflips in and out of handrails, and it will most likelybe Henning. Nobody else does those.46 SaltLakeUnderGround 47

Herschel Supply Co.The Zippo backpackHerschelsupply.comThe Zippo backpack by Herschel Supply Co. hasa very simple retro style and takes it back to thebasics. It has all the pockets you need: one for yourlaptop, your iPod, phone and one mega pouch forall the other things you need to slug around withyou. I put it to the test when I ventured out west andwas able to fit five shirts, two pairs of jeans, a fewundies, socks, two pairs of shoes, a laptop, my iPadand all the cables that went along with them, andit fit perfectly under the airplane seat in front of meand was the only bag I had to bring. There is onlyone problem I have with this backpack: it lacks achest strap. It does, however, come with a waiststrap that zips off when you’re not hiking the wildwoodlands, which is rather nice, but when you’repacking mass amounts of shit around with you, achest strap would be nice to help reduce the strainon your back. Still, I was very impressed with thebackpack. Even though it’s a little pricey ($94.99),it seems built to last and still has a nice look toit—even if there is candy cane striped fabric on theinside lining. –Jeremy RileyNobisPeyton BeanieNobis.caAlthough black beanies are a dime a dozen, it’samazing how many companies seem to do themwrong. They’re too baggy, too scratchy, too tight,look like the reservoir tip of a condom or, evenworse, like your 90-year-old blind Aunt Sally knittedit for you. All I can say is thank god for Nobis. Thisbeanie suffers none of the pitfalls found in so manyof the discarded beanies currently shoved in mycloset. The Peyton has a simplistic and classicdesign and the merino wool is soft and cozy, butbreathable enough that you can rock this hat in thespring or fall. This beanie has already made itselfa staple of my fall wardrobe and I’m sure I’ll betrying to rock it until the early days of next summer.–Jeanette D. MosesVolleyVolley a certified subscriber to Sneaker FreakerMagazine, I like to think I take my shoe gamefairly seriously. Learning about Volley, Australia’spremier sneaker company first established in 1939(!) provides just another notch in my sneaker beltand having a pair sent my way was an absolutetreat. Shoes? For me? I get to write about ‘em? Getoutta here! The OC model is a good solid beach/skate style shoe with lots of little flares that I dig.The crinkle cut tongue, the red rubber sole and themetallic lace tips bleed “steez” while comfort and afly colorway render these things white-hot in a pairo’ khakis or some camo cut-offs and sockless orknee-high woolies (however you roll). I’m not crazyabout the additional rubber toe-cap, but ultimatelyI can overlook it as it does lend a little extra oomphin the stability department. Casual, but fully capableof pulling an outfit together (slate grey will do that),it’s a solid sneak with little to complain about andreasonably priced. Finally making their U.S. debut,you can cop a pair at Urban Outfitters or from thesite. Just make sure to peep an Aussie-U.S. sizeconversion chart before you do. –Dylan ChadwickZazzleDoodle SpeakerZazzle.comI’m pretty easy to please when it comes totechnology. That’s why Zazzle’s Doodle speakeris perfect for me. It’s just a simple, rectangularblock of plastic with an on/off switch, a wire witha 3.5mm headphone jack at the end of it and anoptional USB plug-in (USB cable included) in caseyou want to power it through a laptop instead of twotriple-A batteries. The Doodle’s big selling point is itscustomizable faceplate, which means that you canchoose from a variety of pre-designed prints andimages on their website, or make your own. Thisis a good option if you’re the kind of person whohas one of those credit cards with a picture of yourbaby on it, because you could do the same with theDoodle, except it’s not as weird because the Doodlewill most likely just sit on your nightstand and notget passed around to strangers. I chose a predesigned,vintage radio faceplate, ‘cause babiescreep me out and I don’t have one. Sound-wise, theDoodle is satisfactory. It’ll add a decent amount ofsound to your laptop movie-viewing experience andit’s perfect for those times when you have no otherentertainment option but Pandora on your “smart”phone. The Doodle actually saved me from killingmyself on a road trip after the car’s stereo failed.The only critique I have is the price. At around $40,it’s a bit pricey for what it is, but I guess that’s whatyou pay to get your baby’s red, wrinkled face printedon a speaker. –Esther MeroñoDick TowelDick TowelDicktowel.comIf you’re a fan of It’s Always Sunny in Philadelphia,then you already know about the Dick Towel. Thistowel wasn’t just part of an episode, it’s somethingyou can actually own. Before getting it, I wasexpecting it to be a cheap, thin, rough towel withpoorly printed graphics that scratch your skin, butit was the exact opposite. The Dick Towel has tobe one of the softest towels I have ever felt, andyou can’t feel the graphic, even if you try. Also, tomy knowledge, it’s the only towel you can find withcartoon cocks and butts on it. With its funny/crudeappeal aside, this towel would be better used fortrips to the lake or pool parties (not your communitypool) as it offers next to no absorbency. That’s myonly complaint with the Dick Towel: it should bethicker. Summer may be over, but Christmas isjust around the corner. Think “white elephant.” The$22 is so worth it, especially when you hand it toa female “houseguest.” Nothing is funnier than acartoon phallus on a chick’s chest. –Eric Granato48 SaltLakeUnderGround 49

By Tyler Makmelltyler@slugmag.comThere is not much that gets my beerchub cookin’ as much as that beautifulsubstance inside the bottle. The onlything to rival that frothy goodness issome fancy looking product design. Awell designed product line has alwaysbeen an eye catcher for me. It somehowsays, “Hey, we’re not just slappingthis shit together.” Why do I bring thisup, you may ask? If you have noticed,Uinta has recently undergone an entiredesign change in honor of their 20thanniversary. This new design overhaulbegan with a logo change, which ledto a new label design, custom-madebottles (dubbed the “compass bottle”),and finally, a separation between theirbeer lines: the Classic Line, OrganicLine and Crooked Line. Now, if youare the Joe who is saying, “Who givesa shit about how pretty it looks, I wantmy beer,” then you can easily kiss mydesign-loving ass and enjoy the bonusof this design change: new beers!Now that our chubs have met in theproverbial middle, allow me to presentthe reviews.Hop Notch IPABrewery/Label: Uinta Brewing /Classic LineABV: 7.3%releases after the redesign. I can onlyassume this is an answer to the gapthat the Trader (4%) and Detour (9.5%)had left for the consumer. Damn, doesit fill that void. It is a well balanced blendof a robust hop character and higheralcohol content, all without sacrificingits easy drinking ability. Keep rollingthese out, folks.Baba Black LagerBrewery/Label: Uinta Brewing /Organic LineABV: 4%Size: 12 oz BottleDescription: This newly bottled blacklager is an opaque black color with amedium-sized tan head. The aroma hasnotes of baker’s chocolate blended withroast, light caramel and hints of toastedmalts. After the aroma sets in, this brewhas well balanced flavors of roastedchocolate, soft earthy bitterness and aclean finish.Overview: The Baba is a black lagernewly released to the Organic Line,soon to be featured alongside Wyldand another rotating Organic Seasonalin Uinta’s Organic Mix’r pack. WhileBaba is a darker beer, its evenly balancedclean roast and chocolate keptme enjoying it while we were nearingthe end of summer and well into thecolder months. This beer came at thesame time Uinta won a Pro-Am silver atthe Great American Beer Festival withlocal homebrewer Travis Grimms’Schwarzbier.Hazel Amber WheatBrewery/Label: Uinta Brewing /Organic LineABV: 4%Size: 12 oz BottleDescription: Off the Organic Line,this wheat beer pours a clear amberwith a light, off-white head. The aromais an all-around balanced blend ofsweet caramel, grains and some citrusspice. What you get out of the aromaleads into the flavor, with hints of wheatcharacter, caramel malts and a fruity,crisp finish.Handmade HolidaysBy Mariah Mann Mellusmariah@slugmag.comSo sweet are the old sayings, “It’s thethought that counts” and “As long as itcomes from the heart.” Those sayingsgo hand in hand with another oldie butgoodie: “You can wrap shit up in a prettybow, but it will still stink.” I’ve tried tomake my own Christmas gifts before,and I’d like to apologize to anyone whohas ever received a lopsided crochetedcap or a batch of slightly burned cookies.After strolling through the amazingCraft Lake City booths, I was ashamed! Ifyou’re like me, and can’t cut in a straightline, worry no more. My Holiday Boutiqueand Gallery Stroll Guide will have youlooking like Susie Homemaker withoutever having to pull out a hot glue gun.When it comes to trimming the tree, Itake my cues from the featured holidayartists at Art Access. Every year theyhandpick a few select artists to decoratethe gallery’s Christmas tree. Patrons canbuy several decorations to recreate thecomplete look, or give one to a friendso they can remember you every timethey decorate their tree. The holidayshow opens Nov. 18 from 6-9 p.m. andthen again for the Holiday Stroll on Dec.3 from 6-9 p.m. You can also stop byduring regular gallery hours: Mon. – Fri.,10 a.m. – 6 p.m. and any Saturday in Decemberfrom 10 a.m. – 2 p.m. For moreinformation, visit my family became the “Cleavers,”we lived in an urban loft with sleekfurniture and a rusty metal Christmastree—still one of my favorite holidaystroll finds. The tree called to me fromthe corner of the Art Barn’s Holiday CraftExhibit and Sale. It’s very minimal, perfectfor the person who likes to decorate, butdoesn’t want the log cabin Christmas.Years later, I’m still very proud of myfirst Christmas tree, fifty-five dollars, andno trees were harmed. Now locatedon the main level, there is more roomto navigate your way through the workof over sixty talented Utah artists andcrafters at the craft exhibit. In its 28thyear, this holiday boutique really doeshave something for everyone. The showruns from Dec. 2 through Dec. 18. TheArt Barn is located at 54 Finch Lane nextto Reservoir Park. For a complete list ofartists, visit there was a homemade or craftingmecca, I think it would have to be inUtah County. Those ladies have beenperfecting the art of DIY for generations.It’s bred into them from their pioneerroots—canning, scrapbooking, quiltingand knitting. The Beehive Bazaar takesthe best of the crafting traditions, likehandmade Christmas stockings andhomemade jams, and throws in trendyjewelry, repurposed clothing and thelatest in one-of-a-kind kids’ clothes.My girl friends and I make a pilgrimageeach year to the land of plenty (childrenand crafts that is). My $18 bee necklacehas been the envy of many people overthe years and a staple in my wardrobe.Now located at the Bell Room on the thecorner of University and Center Street inProvo, The Bazaar takes place Thurs.,Dec. 8, 10 a.m. – 10 p.m., Fri., Dec. 9, 10a.m. – 10 p.m and Sat., Dec. 10, 10 a.m.– 8 p.m. For more details, friend them onFacebook.This holiday season, the only saying Iwant to hear is, “I love it, where did youfind it?” That response, along with theknowledge that I bought local and supportedUtah’s art and craft scene, wouldbe the best Christmas present in theworld. Make your holidays brighter andgive a work of art.Size: 12 oz BottleOverview: Hazel Amber Wheat isDescription: Pouring a clear copper another new release to come out on thecolor, this IPA’s fluffy white head opens Organic Line. This amber wheat hybridup with aromas of floral, citrus hops, beer is a mellow, easy drinker and notcaramel and some soft toast. The flavor too threatening for those drinkers whois a tangerine, hop-like character, a balancedare afraid to step out of the safe “justbitterness, soft malts and some a hef’” zone. But fear not, beer snob,citrus hop crispness on the end.the subtle hints of coriander spice, withthat citrus hop character make it justOverview: This is the first, and hopefullyas enjoyable for you, too. Oh, and it’snot the last, of higher gravity organic to boot.Mellus scored this metal Christmas tree at the Art Barn’s Craft Exhibit and Sale.50 SaltLakeUnderGround 51Photo: Mariah Mann Mellus

The Art of Lynn M. Carlson:Another LookLynn M. CarlsonSelf-PublishedStreet: 2011With page after page of flirty, sexy,sometimes even downright raunchyimages, the art of Lynn M. Carlsonclearly warrants another look. Scantilyclad ladies abound, joined only onoccasion by Mr. Carlson himself makingcameo appearances in his ownphotography. Some of the shots areunique and interesting as well––notjust another picture to throw in thespank bank. Additionally, the slightlybizarre combinations of themes,and the use of over-production andunder-production give it yet anothertwist to solicit your interest. On theleft page, an old-fashioned image ofa girl standing with her arms flexed,empowered, in front of a classic car.On the right page, a color-enhancedshot of a topless girl on a bed, herhands between her legs, leaningher head back. Makes you think––orsomething. Some of it’s pretty good,and some is a little porn-y, so I’mthinking you’re not gonna mind it toomuch. –Ischa B.The Beginning Of Now:The Work of Jim WilliamsCara DespainPhotographs by TJ NelsonLittle Zion Publishing House, LLCStreet: 06.2011This is a great fucking book, andhere’s why: I went to the pop-upvenue edition of this exhibition when itwas held downtown. While I enjoyedlooking around, and had even donemy share of research by checkingout the blog to try and figure out whatit was all about, I really still had noidea what the hell was going on. Artcan be like that for me sometimes.However, after reading this book,I can now grasp the bad-ass-nessthat I was experiencing that evening,seeing only a tiny fraction of theexhibition at its finest whole. Thisis a story about a magical housein the avenues, a living visual artautobiography, a home with wallsthat CAN talk, and do. Thumbs up forsure. Great artists have always had ahealthy dose of the crazy, and as anardent servant to his self-expression,Mr. Williams surely does not disappoint.Now, thanks to Cara Despain,his compulsion is available for yourreading pleasure. Get your tour of thehouse in this book, and cross yourfingers and toes that maybe, justmaybe, you get a chance to checkout the real deal before Hoarders getstheir hands on it ... –Ischa B.Eddie Trunk’s EssentialHard Rock andHeavy MetalEddie TrunkAbrams ImageStreet: 04.01There is no greater metal fan orjournalist than Eddie Trunk. This is theman who had a hand in discoveringMetallica, who got the first interviewwith Axl Rose in 13 years, and whohas the respect of pretty much everymetal band on the planet. Now theDJ/VJ has published his encyclopedicrun-through of the most influentialand important bands in the historyof metal and hard rock. Rather thana band-page-style bio, this bookincludes the unique, ultra-rare perspectiveand memories of the bandsfrom Trunk’s lifelong career: no fluff,no propaganda, just pure backstageexperience. He gives us his personaland overall history of an act, stressestheir particular influence on the genre,offers his personal playlist from theband’s catalogue and any surrealmemories he has of them. Trunk isrespected for his objectivity, andhe maintains it here in print form.Hearing how bands interacted with/liked/hated/respected one another isa wonderful insight to these creativeminds that the average fan doesn’tget. Best memory: Robert Plant puttingout a hotel fireplace blaze whilesinging “Immigrant Song” to himself.–Megan Kennedy52 SaltLakeUnderGround 53

The Big Year20th Century FoxIn Theaters: 10.14It’s mind-blowing how countlessunproduced yet brilliant screenplays siton a shelf for years, and others, withthe most mundane storylines imaginable,are set free upon an unsuspectingpublic. Speaking of the latter, how doesa 100-minute feature about bird watchingsound? Terrible, you say? Well, here itis anyway! In an attempt to break therecord of spotting over 732 bird speciesin North America in one calendar year,three men, including a recently retiredbusiness executive (Steve Martin),a working man who still lives with hisparents (Jack Black) and the currentrecord holder (Owen Wilson), trekacross various landscapes while continuouslytrying to outwit each other all inthe name of triumph. As friendshipsform and alliances are shattered, thetrio not only discover an unbelievablevariety of flying fowl, but also the deepermeaning behind the importance of life.While Martin appears to be the onlyreasonable candidate for being castedinto this comedy clearly produced forthose who were alive during PresidentFranklin D. Roosevelt’s terms in office,Black and Wilson are terribly miscastand add nothing for younger generationsto enjoy. The film is as entertaining aslistening to your grandfather discuss thejoys of bird watching. You’ll want to walkout, but must refrain in fear of upsettingthe senior citizens in close proximity.For viewers with an AARP membership,this conservative comedy is as tastyas a warm Werther’s Original from yourpocket. –Jimmy MartinIggy & the StoogesRaw Power Live: In theHands of the FansMVD Entertainment GroupStreet: 09.27A group of Iggy & the Stooges fans winthe opportunity to film the band playinglive at the All Tomorrow’s Parties Festivalin 2010. This is supposed to be thepremise of the film, but I don’t really thinkthat a DVD of a concert really needs apremise. I think it’s kind of like trying towork a plot into a skin flick. No one reallywants premise in their live rock show,they just want to rock. I’ll hand it to thelucky winners––all of the footage fromthe show is what they filmed and it looksgreat, but I don’t think the Stooges needto resort to such methods to sell a concertfilm. They’re the Stooges, and whenthey do their thing, it is just what I need itto be. They play the entire Raw Power albumwith ferocious energy, and despitethe fact that the guys are all showingtheir age, they don’t sound like it. Iggydidn’t go as far as to roll in broken glass,but he still brought a huge presence tothe show. The extras on the disc featurethe filmmakers having a short Q&A withthe band where you really get to see Iggygo on some random, crazy tangents andit’s well worth a look. –Ben TrentelmanThe Red ChapelLorber FilmsStreet Date: 10.04It’s no secret that the country of NorthKorea has been shrouded under a culturalblanket for over 50 years. Under theleadership of General Kim Jong-il (akathe Dear Leader), the socialist state’scitizens have endured an unprecedentedstorm of fear and oppression, and that’sexactly what director Mads Brüggerwants to expose in his documentary, TheRed Chapel. The title comes from thename of Mads’ comedy troupe (as wellas a code name used by a Communistspy cell), which embodies two adoptedDanish-Korean comedians, Simon andJacob, the latter being a self-proclaimed“spastic.” In order to gain access into therestricted country, the ensemble pose asa pro-Marxist group and offer to performa Danish-inspired vaudevillian showcasebefore an auditorium of students forcultural exchange. What results is a voyeuristicglimpse into a country occupiedby individuals appearing to be controlledby an invisible force. The most poignantand pertinent element comes from therelationship between Jacob and Ms.Pak, the group’s patriotic tour guide,as she becomes eerily attached to theguest in what appears to be an elaboratescheme to disguise the nation’s truefeelings and treatment toward thehandicapped. It’s astonishing that all ofthe footage presented was confiscatedby the North Korean secret police andanalyzed to assure the film expressedlove and respect for the dictator, butnothing could be further from the truthas Mads has produced his own form ofpropaganda to bring the realization of abroken country to light. The Red Chapeltakes the notion of espionage filmmakingone step further in the right and entertainingdirection. –Jimmy MartinThe ThingUniversalIn Theaters: 10.14Rather than creating yet another remakein Hollywood, writer Eric Heissererand director Matthijs van HeijningenJr. refrained from mimicking JohnCarpenter’s The Thing (which they arequoted as saying would be like “paintinga mustache on the Mona Lisa”) andexpanded the snowy horror story byexploring the origins of the extraterrestrial.Set in Antarctica in the winter of 1982(three days before the original’s timeline),a team of Norwegian scientists unearthan alien artifact along with an unknowncreature. After hiring an American paleontologist(Mary Elizabeth Winstead) torecover the discovery without harm, theorganism escapes and slaughters teammembers one by one only to replicatetheir identities, leaving the mystery of whois still human for those still breathing.It’s abundantly clear Heisserer and HeijningenJr. are super fans of Carpenter’sfilm and have developed an in-depthhomage to the source material for theirfellow Carpenter fanatics. However, forthose attached to the graphic, sometimesdisturbing, make-up artistry delivered byRob Bottin in the ‘80s, you’ll only feelsemi-complacent with the CGI renderingsoffered in this update. While many importantplot points are themselves replicas,the subtle twists and alterations makethis prequel much more appealing thansitting through a “been there, done that”shot-for-shot remake, especially with thehidden Easter eggs strategically insertedthroughout the film. –Jimmy MartinTyrannosaurStrand ReleasingIn Theaters: 11.04Within the first five minutes of PaddyConsidine’s dramatic thriller, it’sblatantly clear the male lead is one of themost soulless characters to reach thescreen in ages. Joseph (Peter Mullan)is an alcoholic with a gambling problemwhose temper instigates unbelievablycallous acts of violence. After kicking hisdog to death, shattering a store windowand attacking three individuals in a bar,Joseph finds himself hiding from responsibilityin the clothing racks of a thrift storeowned by Hannah (Olivia Colman).Transforming the awkward situation intoan opportunity to offer comfort throughreligion, Hannah attempts to offer sanctuaryfor the self-destructive loner. As theirrelationship expands, the truth behindHannah’s abusive marriage surfacesand Joseph attempts to redeem a lifefueled by anger and hate by returning thefavor. Mullan truly embodies the essenceof pure hatred with his soulless eyesthat alone express a life smothered withneglect, which translates beautifully oncamera. The hopelessness and sorrowColman brings to the film is mesmerizing,but it’s the well balanced transitionto power that leaves a permanent mark.First-time director Considine has constructedan absolutely brilliant film thatrefuses to soften its content or its charactersand their actions. It’s stunning howConsidine is able to successfully convertsuch a cold-blooded character that onceappeared to be on an unstoppable pathof self-destruction. (This film is playingexclusively at The Art House Cinema inOgden, Utah.) –Jimmy MartinWe Were HereRed Flag ReleasingIn Theaters: 11.18In the early ‘80s, an epidemic with noname was sweeping through the gaycommunity of San Francisco. Oftencalled the gay cancer, eventually the diseasewas identified as AIDS and claimed15,548 San Franciscans—many of themyoung, sexually active gay males. WeWere Here weaves together archivalfootage and present-day interviews withfive individuals who lived through theepidemic to create a very heavy film.We Were Here looks at the communitythrough a microscope, illuminating notonly how the AIDS tragedy affected lives,but also how community members wereable to mobilize to force new researchand advancements in treating the disease.Although the focus is narrow, thestory is ultimately a universal one—dealingwith loss, recovery and the strengththat people find in one another whenfaced with incredible odds. –JeanetteD. MosesCheck out slugmag.comfor more content online.54 SaltLakeUnderGround 55

By Thomas Winkley • thomas.winkley@gmail.comIllustrations: Phil CannonThe good folks at Nintendo rolledtheir Mario-branded airstreamthrough Salt Lake in September,giving SLUG a chance to previewtheir tasty offerings for the upcomingholiday season. The trailer waspacked with a message of valuesand love. With a slew of new titlesreleasing for the Wii, 3DS, DSi andDSi XL, hardcore and casual gamersalike can find a great pile of items tospend their hard-earned cash on. Ifyou’re a hater, then you can find astack of IP re-releases to shake yourbitter fist at. If you still hold somesort of hope for a fun gaming future,Nintendo has an offering of titles foryou as well.Legend of Zelda: The SkywardSwordStreet: 11.20Nintendo WiiWith this year being the 25-yearanniversary of Zelda, Skyward Swordis the icing on the celebratory cake.The developers have utilized theMotionPlus controller to its fullestextent, making Link’s arm motionsfollow your commands at analmost 1:1 ratio. Visually, I found thegame to be stunning. The friendlyrepresentative from Nintendo insistedthat they went for a more artsy stylethey hadn’t done before, but to me itsimply looked like a crisper version ofTwilight Princess. The game featuresnew weapons, such as the beetle,which allows you to hit hard-to-reachair via the Wii Motion Plus. Navigatingthe sky on a giant bird gave anadditional piece of excitement whilegetting from dungeon to dungeon.This game will set records, emptyshelves, and ruin any social life youmay think you have.Fortune StreetStreet: 12.05Nintendo WiiThis long-running Japanese series isbeing moved to the U.S. for the firsttime. It was described to me as aMonopoly-style board game utilizingclassic Nintendo and Dragon Questcharacters. The players can battlecompetitively on console or online viaNintendo WFC. The limited impressionI gathered from the game mademe want to sit down for an afternoonand attempt to wrap my head aroundthe advanced play. Once playershave purchased properties andgained some sort of income, theyare able to reinvest that income intoproperties in a stock market stylesystem. You are even given theability to invest in your opponents’properties that may be killing you.The strategy to this Mario Party-lookingpiece spells disaster for those ofus wasting too much time on gamesalready. I’ll wait until release to fullypass judgment, but the game looksinteresting.Super Mario 3D LandStreet: 11.13Nintendo 3DSBlending Mario’s roots with his future,3D Land takes fans to the next step.This reminded me of Super Mario 64meets New Super Mario meets SuperMario 3. This game was instantly addictingas I ran around in a polished,3D-rendered world and utilizedclassic devices, such as the Tanookisuit. The poor spokesperson fromNintendo made three attempts to prythe device from my hands with littlesuccess. Being a somewhat stalwarthater of the Mario 64 release on DS,I was skeptical of another 3D Marioon a handheld, but the ten minutes ofplay I was allowed to indulge in mademe feel otherwise. Super Mario 3DLand is another great reason to owna 3DS and a no-brainer purchasefor the holiday season. I foresee thisbeing sold out at every video gamestore through Christmas, so get yourpre-orders done last week.Mario Kart 7Street: 12.04Nintendo 3DSThis was one of my favorite parts ofthe preview event. The game itselflooked beautiful, handled wonderfully,and allowed more options ofgame play than previous versionsof Mario Kart dared to. From themoment you pick your characters,you’re choosing specialized karts,tire types, and which hang glider willbetter fit your racing style. The racingmechanics themselves felt identicalto previous versions, with thedriving off of high ledges. Gliding canbe applied in a variety of ways to suityour strategy. If you’re in a faster Kartand the terrain looks smooth, youcan drop to the ground quickly togain speed. If you’re in a slower Kart,or see rough terrain, you can stay inflight for a longer period of time toavoid a slowdown. Bundle this withad-hoc and Wi-Fi multiplayer andyour wallet is guaranteed to take a$39.99 hit.Professor Layton and theLast SpecterStreet: 10.17Nintendo DSProfessor Layton holds a specialplace in my gaming library. Thegame is a wonderful mishmash ofmath, logic and maze puzzles thatguide you through a winding andintriguing story. The basic premisesends Layton and his sidekick Luketo solve mysteries that they havebeen tied to by an invitation, friendor convenient placement. Once youhave established the mystery tobe solved, you begin interviewingtownsfolk and solving their puzzlesto advance the story. Since the firstLayton Trilogy, completed with theUnwound Future, the new title will bebegin the prequel trilogy of that series.You will discover how Luke andLayton became friends, and what gotthem started in the world of puzzlesolving. If you’ve never played thesegames, this is a wonderfulobjects by guiding it through theaddition of being able to glide after jumping-off point.56 SaltLakeUnderGround 57

Baby GhostsBaby TapeSelf-ReleasedStreet: 08.15Baby Ghosts = Cub + The SonicsWhen I saw Baby Ghosts, the singerwas wearing a Yoshi backpack andstanding next to a three-foot tall Crayolacrayon. This juvenile attitude carries intotheir lyrics about Stephen Hawkingnot being able to walk: “Maybe youshould just try a little bit harder; I mean,it’s pretty easy to walk.” The punchydelivery of these words fits well withgaragey guitar parts, with a guy and agirl singing together on some songsand alternating with one another onother songs. Baby Tape is a collectionof demos and two tracks from anupcoming album, and I look forward tohearing the full album.–Alex PowCastleAxeCastlemasterSelf-ReleasedStreet: 06.16CastleAxe = Dio + Mercyful Fate+ Slayer + Grim ReaperHark! CastleAxe (formerly Speitre)hath returned with their brand of classicheavy metal, melded with bludgeoningblows of thrash. As the hilt supportsthe blade, so does Grög’s rhythmguitar with Hölger’s steel-solderedleads in euphonious synchrony.Bard Manchester Smythe thruststhrough our ears with alternationsbetween piercing melodies and fiercesnarls—he virtuosically illuminates theburden he has borne in witnessing theterror of æons to come by way of “ThePhilosopher’s Stone” and the honorof battle in “Eternal Konkwest.” ThePrybar and skin-slammer Sürt—strikehot iron in the pounding “Ice Troll,”whose aggressive nature simulates theflesh-eating terror of a beast, hungry forhuman meat. CastleAxe also evidencetheir prowess for performance by offeringthree live tracks—all of which live upto the quality and practiced craft thatthey exhibit in their recorded work. Thelate Ronnie James Dio would havechristened them “knights of metal.”–Alexandre OrtegaDavid WilliamsParade OSTSelf-ReleasedStreet: 08.19David Williams = Bob Dylan +Devendra BanhartThis is the soundtrack that finally completedthe film Parade, written in 2005and shown in festivals in 2008. Writerand director Brandon Cahoon hadbeen looking for just the right musicto go with his film, and having heardDavid Williams’ music at Slowtrain,commissioned him to write the score.The result is a soundtrack that capturesthe poignancy of adolescence and theloneliness of the central Utah desert,themes that the film is based around.Any film score is a part of a greaterwork, and as such, tends not to hold upas well on its own; this one is no exception.That being said, there are three orfour songs on here that are as good asanything Williams has recorded, andpossibly more accessible. For the fullexperience, though, you need to seethe film, too. –Nate HousleyDirty Blonde = AC/DC + KingsOf LeonDirty Blonde is an all-out fist fight, andsomeone just got cut with a bottle ofBud. I can’t hear this band withoutthinking of the movie Road House.This EP is a piece of straightforward,bar rock n’ roll. On track one, “SeeYou Next Tuesday,” singer SpencerFlowers belts out the following littlelove note: “Cool heartbreaker, there’s aspecial place in hell for you!” followedby a rippin’ guitar solo. The band doesa good job of keeping the energy up.For some nice dual guitar work, checkout the track “King’s Men.” Track three,“Black City,” sounds like a sloweddown thrash song—I would love to hearit played fast as fuck. The breakdown ispretty cool, it reminds me a little of “ParadiseCity.” When the band breaks intochants of “black city,” I wanted to heara little more enthusiasm at the song’screscendo and at its close. The albumcould use a slight change of pace, andat times it’s difficult to tell the differencebetween one song and another. Someof the guitar riffs could be accented bymore lead parts as well. My personalfavorite on the album is the final trackwhich is the only acoustic track on thealbum, “Red Room.” –Tom BennettErin BarraIllusionsMeryl Music DistributionStreet: 09.06Erin Barra = Nelly Furtado + MacyGray + Steely DanAn SLC-native musician we can all beproud to call one of our own, Erin Barrahas it—that “je ne sais quois,” as theFrench say. Star-fucking-quality, justto be clear. Illusions, her sophomorerelease, is top-notch shit. These aresongs that I expect to hear in thebackground of a movie coming out inthe future, or as the theme song for anew TV show. Bonus: Not only are theycommercially usable songs, the albumis a total pleasure to listen to. Soothing,bouncy and full of soul, Barra coosover the sometimes jazzy, sometimeselectro-tastic tracks that she wrote—allexcept one exceptionally personalizedcover song, of Genesis’ “That’sAll.” Three short little ditties, “Interludes”—interjectedbetween the mainpieces—just refine the album all themore as a bona fide piece of art, a fulloncomposition piece by a very talentedand educated musician. Kudos, Erin.You make us look good! –Ischa B.Eyes Lips EyesBlue RedRoll Call RecordsStreet: 09.13Eyes Lips Eyes = The Rapture +Franz FerdinandThis album is composed of the 12singles that Eyes Lips Eyes releasedDirty Blondeeach month for an entire year. As aSelf-Titledresult, each song stands alone as aSelf-Releasedcatchy dance track, with the exceptionrhythm section—comprised of bassist Street: 08.02of the slower “Bear Trap,” which relies58 SaltLakeUnderGround 59

on a steady bass line to drive the songalong —but it’s refreshing after fourdance-floor ready songs and a cover ofTalking Heads’ “Psycho Killer.” Thenthere’s “Losing My Head,” with themost delicate guitar riff on the album,and “False Prophet” brings Red HotChili Peppers to mind. “Tickle” is myfavorite song on the album by far, andI still have that giddy guitar riff stuck inmy head. –Alex PowThe Future ofThe GhostA Blessing for Your HeartKilby RecordsStreet: 03.26TFOTG = Red Tape + earlyWeezer + Watashi WaEvery member of the band The Futureof the Ghost has been making musicand friends in Utah for many years.That’s why it is not with a blessed heart,but with a heavy one, that I have toadmit that I’m personally not a fan ofthe band’s new sound. For their secondfull-length release, original membersWill Sartain and Cathy Foy haverecruited Matt Paulos of MathematicsEt Cetera and Andrew Sato of Palaceof Buddies, and composed a set ofsongs that strips away some of theirprevious experimentation to make roomfor sincerely cheerful, bright melodies.In that objective they succeed, butunfortunately, the skeletal simplicity leftto the songs quickly becomes boring.With its ultra-repetitive choruses andjuvenile lyrics, this is an album I wouldexpect to hear from much less experiencedmusicians. –CGLong DistanceOperatorSweet Lucy DevineSelf-ReleasedStreet: 04.14Long Distance Operator = Danzig+ Blue Oyster CultLong Distance Operator mine thetwilight years of hard rock before itdevolved into butt rock. This is a goodthing for those of us who happen tolike proto-butt rock, and Long DistanceOperator hit their metallic stride on theexcellent “Torches.” It’s tricky, though,to navigate this territory in the age ofirony, and several of the songs don’tsupport their ambitious weight. But ifyou’ve been jonesing for bombasticfrontmen and harmonized guitars since1981, Sweet Lucy Devine might scratchyour itch. –Nate HousleyDago impressively bundles everythinghe needs to in about 20 minutes withthis sophomore project, in which heties together electronic sounds from oldschool video games (“Little Mac’s JoggingTheme”, anyone?) and a uniquestream of beats. With a bleepity-bloopity,nostalgic feel, nerds everywhereshall rejoice while listening to thisinventive fellow’s songs that make youwant to dust off that gaming systemand whip out that joystick. The track‘’Magic Kingdom” with Lauren Hoyt(of the up-and-coming local band DaniLion) is especially worth geeking outon. The combination of Hoyt’s indie-folkvoice with Dago’s hip hop flow is rathersatisfying. I would skip the ‘’Intro’’ and‘’Outro,’’ which feature nauseously cutechildren, and go straight for the catchy,crisp and amusing songs sandwichedbetween them. –Kia McGinnisMy Dead EgoFairytales Of Industry EPSelf-ReleasedStreet: 06.11My Dead Ego = Shirley Mansonfronting No DoubtIt is hard to get excited about reviewingsomething that comes with very little informationabout it. While promos comein a variety of formats, most of theminclude a teeny bit of background. So—other than a cover art print, and that thisEP’s three tracks were handwritten onits CDR alongside the name AllisonMartin—the only thing to do was startlistening to it. And what a pleasantsurprise it was—if not a slight shock—from a local CD. The sound quality,especially on the first track, “DancingMachine,” is particularly clear, and whilethat is the standout track here, Martinis undoubtedly talented. Musically,this is electronica, but vocally she’s alittle hard to peg. Because of the lackof information and limited informationonline, I wonder if it is the aegis of herrecording at her former band’s—thelate, great Cavedoll—KitefishingStudios that contribute to the highquality of the recordings. “Stars” is certainlybolstered by Cavedoll’s CamdenChamberlain and his vocal performance,which contrasts with Martin’swhisper-light vocal performance quitenicely, as its minimalist beats sound inthe background. Less polished is theoverly-wordy “Red Rose,” which hastoo many styles competing at once. It ishard to tell who does what (the band’sReverbnation page only lists additionalmembers of The Last Look, but nottheir duties), but Martin could be onto something if the full-length staysas focused and polished as the greatpromise of “Dancing Machine.” –DeanO HillisSuch VengeanceGolden Leaves, Rotten RootsSelf-ReleasedStreet: 06.25Such Vengeance = Lamb of God +Heaven Shall Burn + Windsof PlagueLocal metal outfit Such Vengeance hasupped their game for their new release,Golden Leaves, Rotten Roots. Productionvalue on this album is excellent,head and shoulders above their first;it really allows the listener a fair viewat a talented collective. Their soundis cohesive, aggressive and tight.Ian Eskelson’s vocals have taken ahuge leap forward both in confidenceand technique: Losing the less-thanstellarclean vocals of the past albumsstrengthened the brutality. The bandshows creative shredding and impressivespeed throughout. Piano openingon “The Gadget” shows that these guysare stretching their dark wings out,willing to conquer unfamiliar territory.The samples got a little overwhelmingby the album’s end, but overall werean acceptable choice for the emotionallandscape being painted. “Rivers ofEvil” has riffs that feel like a good, oldfashionedriot in your ribs. The band’solder work had strict hardcore roots,built around clean solos and breakdowns,but they have now progressedinto a sharper, thicker metal soundthat puts them in front of the pack.Now they’re working as a team to builda vicious musical world, and there ishardly a moment to breathe through theferocity. –Megan KennedyStreet: 05.05Swedish-ish Fish = Lisa Loeb +Shawn Colvin + Jill SobuleQuite simply, it’s a girl and her guitar.Never a genre to be underestimated,acoustic folk rock will always find anaudience—and with minimal gear andwrangling necessary, the ability to playout and in a variety of venues or simplyon the street makes it even easier toexpand the fan base. Mistakes aremore difficult to hide, but they’re alsomuch more likely to be forgiven bythe fans who appreciate this very rawand true to life approach to music andmusic production. Boys are Bad Kissersis stripped-down, no real production atall, just naked music, decorated onlywith the equally bare words of a highlyemotive artist. It’s a fine offering, and Iwould suspect the show, too, would becaptivating and charming in its simplicity.Listen outside, under the sky—Swedish-ish Fish will be a fine futureaddition to Lilith Fair. –Ischa B.Uncle ScamHeavy CreamSelf-ReleasedStreet: 08.19Uncle Scam = Liz Phair +Veruca SaltUncle Scam is sex rock. This pack oftalented musicians is led by the fieryIscha. Heavy Cream leaves nothingto the imagination. The album titletrack is a scathing call-out to menwho say whatever they have to toget what they want from the ladies. Ifyou have ever gotten a look at Bee,she’s not a woman you’d want to havepulling out her “implements of war.”Uncle Scam is the type of band you’dexpect to hear on a road trip throughNevada. This album brings to mindstrippers with machine guns. All thetopics that are meant to be avoidedin polite conversation are found inMark Dagoabundance here: Politics, sex andviolence are in no short supply. TrackKill Screenthree, “Backlash,” shows that behindEarthburn RecordsStreet: 10.04the lady, the band has some balls, butMark Dago = Nintendo 64 +their strong point is the live show. Formiddle-aged Grievesa look at the band’s political leanings,There is something to be said for brevitytake a listen to track five, “Fillibuster”—in the music world: What’s the point ofSwedish-ish Fishit says it all. Catch them soon, andan album that drags on just for the sakeBoys Are Bad Kisserswhen you do, take a look at everyone’sof stroking the band members’ egos?Self-Releasedfaces when they go off and Bee startsgetting feisty. –Tom Bennett60 SaltLakeUnderGround 61

Anti-FlagComplete ControlSessionsSide One DummyStreet: 09.27Anti-Flag = The Clash +Billy Bragg + Street Dogs +Propagandhi + Saves the Day +Buzzcocks + Against Me!I love Anti-Flag—always have, alwayswill. That said, Complete ControlSessions is half Clash-tribute, halfrecording their songs with a minorfolky, Billy Bragg style—which is fine,there’s just nothing “new.” Don’tbe frightened: They still employdistortion-fueled guitars with thickpower chords. The Flag have merelyconverted the ethos of songs “TheEconomy Is Suffering,” “Turncoat”and “This Is The End” to be moreconducive to en masse sing-alongsat shows with a more Bragg-likevocal intonation and warbling (in agood way). Anti-Flag began movingin this direction with The Bright Lightsof America, and have just intensifiedthis approach. The release includesthree Clash covers (“Should I Stay OrShould I Go” twice, “Guns Of Brixton”and “White Riot”) and a cover of “IFought The Law,” which is basicallyanother Clash cover. Fans will cherishthis release, and Anti-Flag haters?Indie sux, hardline sux, emo sux andyou suck. –Alexander OrtegaColiseumParasitesTemporary ResidenceStreet: 11.15Coliseum = Black Cross + DriveLike Jehu + CursedFor every stinking Motö/Dischargecomparison garnered, Louisville’sfavorite beard punx have always nurturedan angular post rock obsessionthat’s laid hissing beneath their “bigamps/big riffs” cacophony for years.On their newest eight-song offering,producer legend J. Robbins (Jawbox)manages to draw a distinct wirinessfrom Coliseum’s gravelly barrage,aerating the dense salvo intoa digestible and compartmentalizedpastiche of thundering drums, whiningguitars and ardent growling. Theband sheds their traditional gallopingsteamroller aesthetic for somethingfully evocative. Powerful songwritingand an experimental fascination withstilted tempos and serrated sonicreverb (first cultivated on House witha Curse) coaxes a ragged soul fromthe band, rendering Parasites theirmost challenging and memorablework to date. –Dylan ChadwickComet GainHowl of the Lonely CrowdWhat’s Your Rupture?Street: 10.04Comet Gain = the Cribs + DexysMidnight Runners + BBC RadioThis is the most British record I’veever heard—clear, straightforwardand universal. It also displays acertain breed of English pop that appealsto all sorts of music fans whilestill remaining incredibly bouncy.Where most modern pop music skirtsthe line between children’s musicand frivolity, this indie UK stuff is forgivablycatchy. I’ve heard a handfulof Comet Gain songs over the years,and this record throws out somemissives that rank right up there withDum Dum Girlsthe best. Several of the dozen or soOnly in Dreamstracks on this disc show that theseSub Pop Recordsguys have all but mastered pop mu-Street: 09.27resonant, contemplative and force-Dum Dum Girls = No Joy + Best62 SaltLakeUnderGround 63sic composition. The tracks build andexplode into radio-friendly, euphoricanthems. The first cut, “Clang of theConcrete Swans,” embodies thisdescription completely. Other songssound a little less polished, but theyare still light years ahead of whateverthe hell American radio is passing offas pop music these days. Their sixthalbum in their almost two-decadecareer, Howl of the Lonely Crowd willtreat you to classy, timeless Brit pop,and will remind you of a time whenpopular music actually had somethingto say. –James BennettCubic ZirconiaFollow Your HeartFool’s GoldStreet: 09.20Cubic Zirconia = Peaches + TheWhitest Boy Alive + Holy Ghost!+ Simian Mobile DiscoCubic Zirconia places their soundin the made-up genre of ethnicdisco, a rather fitting title for thiswildly eclectic selection of sounds,beats, and melodies. However, thisalbum draws its influences fromsuch a wide variety of genres that itcan’t accurately be categorized. Theunadultered creativity of these threemusicians should be celebrated, asthey have created a work of art thatis truly original. I noticed that if thereis something in the track that doesn’tagree with me (the vocals are abit heavy-handed at times), soonenough, another layer or instrumentor melody is added into the mix,drawing me back into the song. Thetitle track is the standout track on thealbum, with a sugar-sweet mashupof minimal techno and disco genres,almost as if Plastikman teamed upwith Cut Copy to create a grooveyou could dance to all night long. Ifyou want a look at the genre-defyingdirections that pop electronic musicis headed in, buy this album.–Jessie WoodDavid LynchCrazy Clown Time[PIAS] AmericaStreet: 11.08David Lynch = (Ennio Morricone+ Moby) x Nick CaveYes, that David Lynch. While thelegendary filmmaker is best knownfor bizarre cinemagraphic mindfucks,he’s also lauded for his use of musicin his films, so it doesn’t come as ashock that he’s released an albumof his own (with the help of engineerBig Dean Hurley). The CD openswith the very catchy, nightmarish“Pinky’s Dream” featuring KarenO (Yeah Yeah Yeahs) before descendinginto electronic weirdnesson tracks like the almost-poppy“Stone’s Gone Up” and the meditative“She Rise Up.” While longtimecollaborator Angelo Badalamenti(Booth and the Bad Angel) doesn’tappear on the CD, his fingerprintsare all over Lynch’s dark, slitherysongs, especially on “So Glad.”Neither man can sing a lick, and itdoesn’t matter one bit on this sliceof noir Americana. If you’re a fan andhave a strong stomach, hop onlineand check out the gruesome videofor the stripped-down “Good DayToday.” –Madelyn Boudreaux

Coast + The Raveonettes + TheShangri LasThe second-full length from LA’sDum Dum Girls finds the band witha less muddled and noisy soundthan what was on their first album.Where vocal tracks and instrumentssometimes felt claustrophobic onlast year’s I Will Be, Only in Dreamsleaves enough space between thevarious elements to allow Dee Dee’ssongwriting to stand out. Sune RoseWagner of The Raveonettes helpedproduce the album, and although hisinfluence isn’t immediately noticeable,after a few spins, the timelessquality of his work begins to seepthrough. Although Dum Dum Girlshaven’t abandoned their fuzzy popaltogether, this more polished versionis, without question, also morememorable. Only in Dreams startswith the upbeat, surf rock-influenced“Always Looking” before divinginto the whimsical “Bedroom Eyes”and bouncing into “Just a Creep,”which resonates with the feeling of aspaghetti western. “Coming Down”creeps into the territory of ballad,but its inclusion doesn’t make thisalbum lose its teeth. Initially, thesonic rollercoaster was a bit jarring,but after a few spins, I fell in lovewith this album. Only in Dreams isas beautiful as it is tough, and asinfectious as your first romance.–Jeanette D. MosesEntrenchInevitable DecayAbyssStreet: 09.20Entrench = Sodom + DeathAngel (early) + Nuclear Assault+ Destruction (early)Don your denim patch-plasteredjacket, bust out your bullet belt andrevel in what may be the least talkedaboutbut best damn thrash recordyour ears will be bombarded with onEntrench’s debut album, InevitableDecay. After six years of demos, thisSwedish trio of mad thrashers arehere to beat your ass the way thrashmetal should. The problem with manyof the modern thrash acts pushingout retro material these days, asidethe real thrash angst, is their modernproduction. Entrench not only nailthe classic production of albumsfrom the ’83 to ’85 era, they oozeold-school attitude like a pus-riddensore on a hardworking thrash guitarplayer’s finger. Stylistically, the banddoes a good job of crossing over thecore of their sound, which is earlyEuropean thrash with some dosesof American rawness. It isn’t just riffsyou’re going to remember from InevitableDecay; the tracks stand hardand fast with new classics. “Debt ofSorrow” is filled with mosh-pit fervorand a core swirling, dizzyingly fastthrash riff with a throat-scraper ofa vocal delivery, and “Crossing theRiver,” starts with speedy punchesand rounds into some brutal thrashgroovebreakdowns. All this is plentyto get the old school and new schoolto wet their skintight black jeans.–Bryer WhartonHellaTripperSargent HouseStreet: 08.30Hella = Melt Banana + Zach HillThe fact that guitarist SpencerSeim’s contributions on Tripper areworth mentioning speaks volumesabout him. I say that as a personwho has witnessed the Olympic-leveldrumming genius that is Zach Hillsome time ago at Urban Lounge. Hillmight be the fastest, most articulatedrummer on earth, and his fathermust have had Red Bull in his sperm.Seim makes each track feel like ajourney, when it could easily feel likea traffic jam with so much noise. On“Long Hair,” his melodically rivetingriffing complements Hill’s explosivedrumming perfectly. “Kid Life Crisis”switches things up for a minute, witha low bit rate intro, before blastinginto their what-the-Hella kind ofchaos––and yes, Hella turns “chaos”into a complimentary adjective.Tripper is the perfect album to throwon when you’re trying to annoy yourpious dick of a roommate while he’sstudying. Or, you can just throw yourheadphones in. Either way, it’s really,really good. –Andrew Roykeeping his edge and simultaneously,fully delving into this new territory.Keeper is a fine example of just howgreat Doe is at building an entirerecord of roots music while still keepingthings highly original. The countryrocker “Walking out the Door” wouldbe right at home in any honky tonk,and has a slight air of Johnny Cashto it. The saxophone-soaked “NeverEnough” is an upbeat number thathas enough life in it to wake thedead. It’s hard to say what we’ll getin the future from a guy like JohnDoe, but I do know that whatever itis, I’ll be glad to get more of it.–James OrmeKaty BOn a MissionColumbia RecordsStreet: 09.13Katy B = (Alicia Keys + Adele)x RuskoYou probably haven’t heard of Katy Bbefore, but since she’s a 22-yearoldgraduate of BRIT School witha degree in popular music fromGoldsmiths, University of London, youcan be sure that you will. Her debutalbum, On A Mission, is a showcasedisplaying her unbelievably enchantingvoice, beautifully framed withdubstep and garage music. “LightsOn” (featuring Ms. Dynamite), “EasyPlease Me” and “Katy On A Mission”are particularly captivating. You canpick up the album on iTunes, but besure to check out her music videoson YouTube, cause it doesn’t looklike her tour is leaving the UK anytimesoon. –Johnny LoganLibrary VoicesSummer of LustDine Alone RecordsStreet: 10.18Library Voices = NewPornographers x Architecturein HelsinkiWhile Library Voices put a few stridenttwee signifiers up front—cutesysong titles (“Que Sera Sarah”), thegrade-school nostalgia of their name,the boy-girl album cover—the musicis more grown up than they let on.It’s fun, to be sure, but they temperthe energy with genuine hooks thatgive their infantilism a sardonicslant. Single “Generation Handclap,”upbeat and catchy like the rest ofthe record, is a standout with its especiallyurgent chorus. I could havedone without the book-on-tape style“Intro” and “Outro” tracks, though.–Nate HousleyLonely KamelDust DevilNapalm RecordsStreet: 10.25Lonely Kamel = Lüger + FuManchu + Masters of RealityDust Devil represents a logical nextstep in Lonely Kamel’s journey fromKyuss-worshiping stoner doom to atighter, cleaner, blues-inspired psychedelicrock. Their songs are stillpretty metal-inspired and heavy, butare much more in the spirit of stonerrock’s fascination with long highwaysand deals with the devil. ThomasBrenna’s voice is unique andpowerful, and backed up with bright,catchy tunes, from the fast and gritty“The Prophet” to the slow, smoothriffs of “Whorehouse Groove.” Thisalbum might not be breaking anynew ground, but it’s a great companionfor long drives along desertroads. –Henry GlasheenLostribeSophieCFO RecordingsStreet: 08.23Lostribe = Grieves + LooptroopRockers + Prefuse 73Let me tell you about the state of hiphop these days: It’s excellent, but—with one big fat “but” (you know, thetype Sir Mix-A-Lot loves)—there’sso much new stuff that the marketgets diluted. With that said, let metell you how awesome it is to hear arecord like Sophie from this Californiaduo. Agustus ThElefant is a solidMC and he elegantly shares trackspace with guest stars like TalibKweli, Casual and N8 the GR8. Myreal favorite here, though, is the productionby JustLuv. More digitallyinformed and synth-heavy than a lotof current producers, his beats arestill sample-driven and vary enoughover the course of the album to neverget monotonous. Particular favoritesinclude “No Other Word,” featuringa vocal hook by Maryann Hunterthat’s sweetly addictive; “Live Like ARebel,” with amazing glitch-inspiredbackbeats; and “Come Down,” withsome really hot verses. Like hip hop,but need something new? This is it.–Rio ConnellyMandolin OrangeHaste Make/HardHearted StrangerSelf-releasedStreet: 11.08Mandolin Orange = The Headand the Heart + She & Him +Margot and the Nuclear So andSo’sAs I drove down I-15, I found myselfhumming along to the catchymelodies and nice harmonies thatMandolin Orange’s Haste Make/Hard Hearted Stranger offer on thistwo-disc release. Both albums arepretty musically sound, what with thecrooning voice of Andrew Marlinand the instrumental handlings ofEmily Frantz. They each featuresome excellent piano refrains andviolin solos. The third track on HasteMake, “Lines on the Floor,” is mypersonal favorite because of thedissonant melodies and the cadenceat the end of each chorus. It’s almostenough to make me fall for the albumin its entirety. Unfortunately, overall,both Haste Make and Hard HeartedStranger truly lack expressive depth.There is no solid point of differentiationbetween Mandolin Orange andany other amiable, folky band outthere. The intimate, calming tone ofthe band’s sound is also nice, butultimately lacks the intensity that fansneed in order to keep going back toit after every victory and every battle.In order for an album to really stick, ithas to provide something meaningful,and while this album comesclose, it doesn’t quite pull through inthe end. It’s pleasant, but pleasantwon’t cut it. –Kylie CoxMike PattonMusic from the Film andInspired by the Book“The Solitude Of PrimeNumbers”IpecacStreet: 11.01Mike Patton = Michael Andrews+ Danny Elfman + Phillip Glass“Multi-faceted” proves to be aresoundingly appropriate termwhen describing Mike Patton’smusical output: a career that genrehopsmore than a temperamentalmiddle-schooler. So when the dudeannounces that his next project willbe a “sonic departure” from the last,it’s hard to take too much notice.Still, compiling an album inspired bya 2008 Italian novel (and 2010 film)about two heartbroken individualsseemed compelling enough, and theresults add yet another dimension toPatton’s storied legacy. Eschewingthe crazed exuberance and schizophrenicbombast of previous efforts,the album plays heavily on undertones,icy minimalism and singlenote passages occasional teasingthemselves out into symphonicgrandeur (check “Radius of Convergence”).Plinking pianos, tremblingstrings and an ethereal synth varnish(and the delightful quirk of having alltracks numbered sequentially withthe first 16 prime numbers), it’s certainlynot Mr. Bungle … but a whollysatisfying audio-cinema experiencenonetheless. –Dylan ChadwickOwenGhost TownPolyvinyl RecordsStreet: 11.08Owen = Moonlit Sailor + LittleGlitches + David BazanMike Kinsella makes my heartmelt, and this album is a strongtestament as to why. A pioneer in theweird, alien music sound of Chicago,he started making music with hisbrother at the age of 12 in Cap’nJazz, moved on to Joan of Arc afew years later, and American Footballaround the same time. In 2001,he branched out from alien soundsand started Owen, a solo project inwhich he loops guitar, bass, drums,keyboards, and sings. This album isfucking beautiful. It’s more along thelines of his newer stuff, like At Homewith Owen and New Leaves, but withmore layers and more haunting thanever. Fitting, I suppose, for an albumtitled Ghost Town. The drums areharder than previous albums, as hewas playing Cap’n Jazz’s reuniontour at the same time he was recordingthis album, and the guitar hasthe right amount of hazy uncertainty.Starting out with “Too Many Moons,”I’m immediately hooked. Lyrically,Ghost Town feels like the end of apoignant chapter in his life—appropriately,as rumors are saying thatthis might be his last Owen album.This is the best kind of sleepy music.–Kyla G.Russian CirclesEmprosSargent HouseStreet: 10.25Russian Circles = Pelican + RedSparowes + And So I Watch YouFrom AfarI hold any band that features aformer member of Botch to a veryhigh standard—Russian Circles meetthat standard and then some. Thisinstrumental trio sets themselvesapart from the crescendo-chasinglemmings with a style of post-rockthat focuses more on driving energythan empty space. Opening track“309” manages to be vicious, but notin an overtly aggressive way: DaveTurncrantz hits those drums fuckinghard, and Brian Cook’s bass tone atthe end of the song is just plain ugly.“Mladek” opens with a guitar riff fromMike Sullivan that initially seemspretty enough to fit on an Explosionsin the Sky album, but whenTurncrantz and Cook jump in, thesong becomes a certified ass-kicker.The first four minutes of “Schipol” offersa bit of a respite, but there’s stillsome gnarly stuff going on underneaththe delicate guitarwork. “PraiseBe Man” closes the album out in aspectacularly fuzzy manner and theuse of vocals (a rarity in RussianCircles’ music) is a pleasant surprise.This may be the best Russian Circlesalbum yet, and that’s really sayingsomething. –Ricky VigilSkinny PuppyHanDoverSPVStreet: 10.25HanDover = Bites/Remission +Last Rights + MythmakerJust when you think you know exactlywhat to expect from Skinny Puppy,they throw you a curveball. And notjust one that hangs for a few feetand drops—you completely miss it,and it blows through the backstop.HanDover, the Pups’ latest release,is a sonic pit bull that refuses toallow itself to be chained to a treein your backyard. Sure, there area couple of “danceable” tracks onthe album (“Cullorblind,” “Village”),but by-and-large, this is a challenginglisten, and the reward will differradically depending upon perspective.This is the sound of a band thatis attempting to further itself ratherthan reinvent itself, and, unlike mostpast Puppy offerings, there isn’t onesingle jolting moment during the albumwhere the listener will finally “getit.” The entire album is, in effect, thatmoment. This is the noisiest recordSkinny Puppy has released since1992’s Last Rights, but it doesn’thave the same claustrophobic effect.Instead, it leaves much more roomto breathe, but don’t turn your backon it—it will still grab you by thethroat and cut off said breath withoutwarning.–Gavin HoffmanSomeone Still LovesYou Boris YeltsinTape ClubPolyvinyl RecordsStreet: 10.18Someone Still Loves You BorisYeltsin = Fruit Bats + early YoLa Tengo + grownup MorningBenders + if The Strokes wereacousticOkay, 26 tracks is a lot, even consideringTape Club was narrowed from100 of Someone Still Loves You BorisYeltsin’s previously unreleased and/or hard-to-find tracks. Despite thelength, there is something endearingabout these dudes and theirShins-esqe acoustic guitar andharmonic folk voices that remind meof the songs pubescent high schoolmusicians write for their puppy-lovegirlfriends. I can’t say I was thoroughlyengaged for the entirety ofTape Club, with its sound being moresweet and easy than striking. ‘’LowerThe Gas Prices, Howard Johnson’’implements an intriguing drum beat,with lyrics that made me crinkle mynose up in an ‘’aw shucks’’ manner.‘’Bigger Than Yr Yard’’ remainedin my head for a few hours after listening—perhapsthe pop sound andaddition of girl backup singer wasenough to make it stick. I dub TapeClub an above-average, well-put-togetheracoustic album. Although notsomething I would play on repeat, it’sworth at least one good listen if youcan spare 26 tracks-worth of yourtime. (Urban: 12.01) –Kia McGinnisStephen Malkmusand the JicksJohn DoeKeeperYep RocStreet: 08.30John Doe = Bruce Springsteen +Joe Ely + Richard HellJohn Doe is one of those musicalluminaries responsible for bridgingthe gap between punk rock, earlyrock n’ roll and roots music. His bandX gave some credence to punk rock,and ever since he went solo in 1990,he’s given new breath and perspec-from regurgitated riffs and lack of tive to country, folk and blues while64 SaltLakeUnderGround 65

Mirror TrafficMatador RecordsStreet: 08.23Stephen Malkmus and the Jicks= Pavement + Sonic Youth +King MissileMy first exposure to Stephen Malkmusand the Jicks was back in 2003when they opened up for Radiohead.Obviously, I was way morestoked for Radiohead that night thanthe singer dude from Pavement andhis new band. Now as the years havepassed and I have gotten more andmore into the Jicks, I really regret notpaying more attention to their set thatnight. The band has become a lotbetter since back then, and with eachnew album, the band’s music hasbecome more cohesive. Their latest,Mirror Traffic, is no exception. Themusic on Mirror Traffic doesn’t differ awhole lot, musically, from previous Jicksor Pavement. But Malkmus’ lyricsare a bit sassier and more sarcasticthan on previous releases and theaddition of Beck as producer addsa lot more texture and tone to thesongs, which definitely helps keepmy attention through the entire album.The highlight of the album hasto be track five, “Jumblegloss.” Theguitar work on that jam is goddamnexceptional. –Jon RobertsonThis is HellBlack MassRise RecordsStreet: 10.11This is Hell = Terror + Anthrax+ M.O.D.Heavy metal and hardcore havemixed with varying degrees of successover the years. Some strikegold, like D.R.I. and Integrity, whileothers are utterly forgettable, like thecurrent wave of deathcore bands. OnThis is Hell’s latest effort, the crossoverthrash influences are front andcenter and meld easily with their establishedNew York sound. It shouldbe no surprise how thoroughly heavymetal is integrated into the album,though—This is Hell has hinted at itfor years (they have opened sets withthe opening riff of Anthrax’s “Amongthe Living,” after all). Touches ofMegadeth and Anthrax can be foundthroughout and complement vocalistTravis Reilly’s unique vocal style well.Reilly is one of the few vocalists inhardcore who is easily discernedfrom other acts, which is part of thedraw of This is Hell. However, thesung vocals of the album, whicharen’t necessarily clean, are a mixedbag, but work in most instances.Altogether, this release sits as wellon the shelf next to Terror as it doesSuicidal Tendencies, and shouldplease hardcore fans and metal fansalike. –Peter FryerTori AmosNight of HuntersDeutsche GrammophonRelease: 09.20Night Of Hunters = Tori Amos +Broadway musical + a backingorchestra.It’s been years since Tori Amosdid anything risky with her music.Her last three albums were almostplay-by-numbers catered to easylisteningfans and watered down forconsumption. Suffice it to say, the“cornflake girl” has been soggy tolongtime fans. But Night of Huntersmight just be the next chapter inAmos’ career that she sorely needed.On this album, Amos crafts songsfrom classic compositions, makingalmost every track a solo piano piecewith occasional orchestral support.To be blunt, this is not radio friendlyand that should be applauded. Thesongs are as experimental as herBoys For Pele days, without the baggageof being cut down to three minutes.Night of Hunters sounds morelike a haunting musical soundtrackthan anything pop-oriented, andAmos deserves credit for at least takingthe chance. If this album doesn’tfinally earn her the elusive Grammythis year, nothing will.–Spencer IngamTychoDiveGhostly InternationalStreet: 11.22Tycho = Yeah Yeah Yeahs +DJ CamThe San Francisco native Tycho hasbeen MIA from the scene for quite awhile, focusing more on his designwork and blog under the pseudonymISO50. Fortunately for me, he tooktime off to focus on his new albumDive, which has left me with stars inmy eyes and a yearning to explorethe unseen world. From beginningto end, the album felt almost like adream to me, taking me into a worldof pure bliss. Impeccable productionand the album’s fluidity speaksvolumes of Tycho’s skill. It’s poetryto the ears, even though there isn’ta single lyric featured on any of thetracks, except for an ad lib on thetitle track. My favorite track, “CoastalBrake,” made me feel as if I wassurfing in an ocean blue with thesun rising as I caught that first wave.Beautiful synths, captivating riffs andcatchy drums kept me until the lastsong played out. This is the kindaalbum you can relax to after a longstressful day, or if you need somethingpretty in your ear while you trip.Definitely worth the legal download.–Mama BeatzVNV NationAutomaticAnachronStreet: 10.25VNV Nation = Alphaville x(Covenant + ApoptygmaBerzerk)Ronan Harris and Mark Jacksonare back with another stirring, triumphantalbum and another reminderthat they are not afraid! An artsy, dieselpunktribute to the 1930s and theworld of tomorrow, it departs fromearlier releases with the meditativeinstrumental track “Goodbye 20thCentury” and “On Air,” a lovely pianoballad shot through with noise andstatic, as if tuned in from an antiquebroadcast. They pick things up withthe relentless neofuturist beats oneexpects from VNV—it takes real effortto sit still through soaring trackslike “Space & Time,” “Gratitude”and “Photon.” They don’t forget theobligatory hurt-yet-optimistic balladwith “Nova.” Especially check outthe hardest track, “Control,” whichis sure to get rivetheads and raversmoving when VNV Nation plays ClubSound on November 25.–Madelyn BoudreauxVoidSessions 1981-83Dischord RecordsStreet: 10.25Void = Minor Threat + SOA +(early) Black FlagIf ever there was a punk rockequivalent of black metal’s “kvlt” tag,Columbia, Maryland’s Void would fallinto that category without debate. Anextraordinarily messy and haphazardband, Void is, in hindsight, arguablybetter in my mind than Minor Threatever was, although nowhere near asinfluential, for obvious reasons. Theirlegendary split with Faith is somethingthat I’ve never been without atleast a cassette or CD-R copy of, foras far back as I can remember, andhearing the Sessions release hasonly rekindled my love for this band.Compiling Void’s Hit and Run sessionfrom November 1981 with the firstInner Ear demo, outtakes and two livetracks, this sucker reminds me whyI got into punk rock in the first place.It’s noisy, sarcastic, juvenile, mean,and totally disjointed … What the hellelse has punk rock ever needed tobe? –Gavin HoffmanThe WorkhouseThe Coldroom SessionsHungry AudioStreet: 09.26The Workhouse = Explosions inthe Sky + Abe VigodaThis band can’t decide whether itis lo-fi Explosions in the Sky or alo-fi The National, but maybe thatis what they are going for. The firsttwo and a half tracks of this albumall sound like shitty covers of eachother. When the vocals popped infor the first time halfway throughtrack three, I got a bit excited. I wasquickly let down by the lead singer’sCold Cave, Abe Vigoda ripoffvoice, delivering lyrics that equateto an eighth-grade love poem. Afterthat, they jump right back into theinstrumental shoegaze again, untilthe album’s highlight, “The Whistler.”“The Whistler” sounds like what Iimagine The National would havesounded like as a high school bandand it is actually kind of cool. Theband isn’t terrible, but they fail to produceanything of real substance. TheColdroom Sessions is like an entirealbum of filler songs. –Cody HudsonZola JesusConatusSacred Bones RecordsStreet: 10.04Zola Jesus = Kate Bush +Siouxsie Sioux + CabaretVoltaireWith artists like Austra, Glasser,and Fever Ray, it’s obvious: Goth isback. It’s time for people to obsessover Nika Roza Danilova’s darkalter-ego, Zola Jesus. At only 22years old, the opera-trained singerhas managed to overwhelm me withemotion on her third and poppiestfull-length, Conatus. The one-minute“Swords” opens with glitches andindustrious noise, leading into thepounding chill of “Avalanche.” Thefirst glimpse of her vocal range appearson “Vessel,” which rides asidemechanical synths. It is, of course,her big voice that’s so captivatingand heart-crushingly powerful. “Blisters,on my hands” Danilova bellowsout on “Hikikomori” over Kate Bushlikestring arrangements. “Seekir”and “Shivers” echo behind layersof danceable electro-goth beats.Conatus is an anthem and it will tugat your soul, every note and lyric ofZola Jesus is the work of one—the4’9”, 90-pound Nika Roza Danilova.–Courtney Blair66 SaltLakeUnderGround 67

Friday, November 4The Peculiar Pretzelmen, Folk Hogan – ABG’sTGR Ski Video After Party: Motorcycle Death Machine– Bar DeluxeAcacia Strain & Terror, Stray From The Path, Harm’sWay – Club SoundRoss & Dave’s Birthday Extravaganza – Willie’sThey Might Be Giants – DepotRob Wilson Fundraiser – Downstairs (Park City)Stonefed – Hog WallowOf Mice And Men, iwrestledabearonce, I See Stars,For The Fallen Dreams, That’s Outrageous – In TheVenueMadman Mezzy, The Commission – Liquid JoesMC Pigpen, Kublaki, Broke MC, C-Crime, DedicatedServers, Grits Green, 7/11 – KilbyNetherfriends, Ben Best, The Mighty Sequoya – MuseSalty Horror International Film Festival – Park CityLibraryFilm: Temple Grandin – SLC Main LibraryGaudi In Motion – Sugar SpaceJoshua James, HoneyHoney – State RoomReal Estate, Big Troubles, The Future of the Ghost –UrbanJohn Allred – VelourDesert Noises, Lake Island, Mermaid Baby– Why SoundLady Macbeth – Plan –B TheatreFirst Friday – Exhibition Opening – SL Art CenterSaturday, November 5Gunfight Fever, Die Nasty, Haven, Machines of Man– BasementKaraoke Starring DJ Numbnuts – Willie’sCobra Cobra – Bar DeluxeStatik Selektah – Club ElevateWhiskey Fish – GarageBackwash – Hog WallowChildren of Nova, Velvet City, Exit of the Envious, ExitStrategy – KilbyThe Spazmatics – Liquid JoesLauren Cook & Friends – Johnny’sAnjelah Johnson – Kingsbury HallBaldwin Games – MuseDJ Timone, DJ Irene, DJ Diamond – One NightclubSalty Horror International Film Festival – Park CityLibraryFilm: Temple Grandin – SLC Main LibraryGaudi In Motion – Sugar SpaceRich Robinson – State RoomStarmy, Suicycles, Sam Smith Band – UrbanFictionist, The Moth & The Flame, Mermaid Baby,Battleschool – Why SoundEast of the Wall, I Am the Ocean, Loom – Burt’sLady Macbeth – Plan –B TheatreHappy Birthday Kyla Grant!Send your dates by the 25th of the previous month: dailycalendar@slugmag.comLoom, Savior Savant, Jesus or Genome, Fa Koshka,Oddmality – Why SoundLady Macbeth – Plan –B TheatreEagle Twin, Red Bennies, Tolchock Trio – UrbanMonday, November 7A Faylene Sky, Everyone Dies In Utah, ThroughArteries, I Capture Castles, Dead Wife By Knife, If WeStart This Fire – KilbyFilm: Temple Grandin – SLC Main LibraryMonophonics, No Nation Orchestra – UrbanSound Waves from the Underground: Episode#18 – itunesTuesday, November 8Mastodon, The Dillinger Escape Plan, Red Fang –DepotGarden, Max Pain and the Groovies, Dead Seas –GarageMurs, Tabbi Bonney, Ski Beatz, McKenzie Eddy,Sean O’Connell, Da$h – In The VenueXimena Sarinana, Avalanche City – KilbyAppleseed Cast, Kathryn Calder, Nick Neihart –UrbanWednesday, November 9Gift Of Gab, Scenic Byway – Bar DeluxeGym Class Heroes, Dirty Heads – ComplexZoso – DepotGallivan Ice Rink Opens – GallivanTalia Keys, Gemini Mind – Hog WallowSenses Fail, Make Do And Mend – In The VenueJonathan Jones, The Broken Column, Frame &Canvas, Charles Ellsworth, The Dirty Thirty – KilbyBird By Bird – MuseFilm: Ghost Bird – SLC Main LibraryGaelic Storm – State RoomGuards, The Trappers, Deer Tick – UrbanThursday, November 10Spindrift, Spell Talk – GarageJoy & Eric – Hog WallowFuture Islands, Ed Shrader’s Music Beat, YYBS –KilbyDouble Wide – Liquid JoesDesert Noises, Elizabeth Arynn, Our Lady, Lake Island– MuseFilm: Sholem Aleichem: Laughing in the Darkness –SLC Main LibrarySpyhop’s Pitchnic – Rose Wagner TheatreScott H. Biram, Joe Buck, Molly Gene One WhoamanBand – UrbanJonathon Jones – VelourFilm: Blank City – SL Art CenterFriday, November 11The Jingoes, Resister Radio – ABG’sReef the Lost Cauze, King Magnetic, Edo G, DJ Illegal– Bar DeluxeDubwise – UrbanHuldra, Dustbloom, Hypernova Holocaust, Monarch– Burt’sNew Found Glory, Set Your Goals, The Wonder Years,Man Overboard, This Time Next Year – ComplexWayne Hancock – GarageMarinade – Hog Wallow23 rd Army Band – Hunstman Center ArenaCity and Colour, Hacienda – In The VenueThe Anchorage, Storming Stages & Stereos – KilbyHour 13, Downfall – Liquid JoesSteven Halliday, Hema, Travis Van Hoff – MuseFilm: Blank City – Creativity in Focus – SLC MainLibraryBlinded By Truth, Autumn Eclipse, ECS – SouthShoreThe Moth & The Flame, Book On Tape Worm, SoftScience – VelourYour Former Forever – Why SoundSaturday, November 12Art Swap and Sale – Art Access GallerySerianna, Eyes Like Diamonds – BasementVegan Thanksgiving Dinner – Columbus CommunityCenterRoberto Tapia, Enigma Norteno – ComplexOld Death Whisper – GarageRevolver – Hog WallowTribal Seeds, E.N. Young – In The VenuePuddle Mountain Ramblers – Johnny’sParis Green, Jesust, Spell Talk, Loom – KilbyThe Spazmatics – Liquid JoesSam King, Evicting Eden – MuseFictionist, The Devil Whale – State RoomMates of State, The Generationals – UrbanThe Whits – VelourWade & Friends – Why SoundDebaser & The Prime, DJ Nykon, Saint Warhead –WoodshedSunday, November 13Nova: Music of Beethoven – Libby GardnerBlu, Open Mike Eagle, Jnatural, Colorless, BurnellWashburn – KilbyThe Devil Makes Three – State RoomJay Brennan, The Awful Truth – UrbanMonday, November 14Hull – Bar DeluxeBig Sean, Cyhi the Prynce, Shawn Chrisopher –ComplexSay It’s Fine – KilbySalt Lake Design Week – Opening Night – TheLeonardoSalt Lake Design Week – Lab – The LeonardoFilm: Poison – Tower TheatreRa Ra Riot, Delicate Steve, Yellow Ostrich – UrbanGeeks Who Drink Futurama Quiz – Devil’s Daughter.Happy Birthday Lindsey Morris!Sound Waves from the Underground: Episode#19 – itunesTuesday, November 15James Tautkus, Motorcycle Death Machine – KilbySalt Lake Design Week – Salt Lake Art Center, EastDistrict, SLC Main LibraryHeal Utah Fundraiser – State RoomCentro-Matic, Policia – UrbanPray for Snow - Hosted by Save Our Canyons – SLCSquatters PubFilm: The Visual Language of Herbert Matter – SL ArtCenterWednesday, November 16Resistent Culture, All Systems Fail, Yaotl Mictlan,Chainwhip – BurtsCynic, Scale the Summit – ComplexTony Holiday, Jordan Young – Hog WallowAndy Grammer – In The VenueSalt Lake Design Week – The Leonardo, Salt Lake ArtCenter, Central DistrictStrand Of Oaks,Brinton Jones, BearClause – KilbyNeighborhood Brains– MuseDavid Wilcox – StateRoomKindlewood, PaulChristiansen – WhySoundThe Pourhorse,Marinade, Hotel LeMotel – UrbanAdd A Dash of LocalArt w/Chris Rudert –Whole Foods TrolleySquareThursday, November17Bobby Valentino, TheRed Rose Tour – ClubElevateBrother Chunky Band– GarageHigher GroundLearning Workshop – Higher Ground LearningSKPz – Hog WallowMountain Hymns, St. Peter, The Roof Top Bandits,Mod Lan – KilbySalt Lake Design Week – The Leonardo, Salt LakeArt Center, UMFA, SLC Main Library, West District,Higher Ground LearningDouble Wide – Liquid JoesRoyal Bangs, Bear Hands, YYBS – UrbanSaith – Why SoundFriday, November 18Hectic Hobo, J.R. Boyce & His Troubles – ABG’sLemuria, Vanzetti Crime, Cuddleslut – Blue StarCoffeeKeith Mackenzie, DJ Fixx, Steez, DJ Loki, Tink Fu –ComplexRage Against the Supremes, Ray Rosales – HogWallowSLUG Localized: Pretty Worms, Dark Seas, ThePhantom Rose – UrbanBlessthefall, The World Alive, Motionless In White,Tonight Alive, Chunk! No Captain Chunk! – In TheVenueLittle Scream, Bobby – KilbyGeorgelife – Liquid JoesThe Porch – MuseSalt Lake Design Week – The Leonardo, Salt Lake ArtSalt Lake Design Week – Closing NightReception – Natural History Museum of UtahRachael Yamagata – State RoomSaturday, November 19Touche Amore – BasementBurlesque Baronesses, Brumbies, Please Be Human– Bar DeluxeFunked, Crizzly & DallasK, Loki, Life+, Dipsy andDylankK, Dirty Dutch Bros – ComplexGod’s Revolver – GarageShwayze & Cisco Adler – In The VenueMarinade – Johnny’sThe Young Electric, Proving Grounds – KilbyThe Spazmatics – Liquid JoesChance Lewis – MuseFilm Festival: Who Likes Short Shorts – Post TheaterBird Eater, Done, Worst Friends, Cicadas – UrbanTr3ason, Nescience, False Witness – Why SoundScott H. Biram 11.10 at Urban LoungeSunday, November 20Cory Branan – KilbyMonday, November 21New York Voices – Capitol TheatrePriory – KilbySound Waves from the Underground: Episode#20 – itunesTuesday, November 22Get off the damn internet and make a new friend –Anyplace coolHappy Birthday Robin Banks!Wednesday, November 23Mord Fustang, Miles Dyson, Loki, Steez, Danielsan,Aiden Chance – ComplexRoyal Bliss – Depot“Look Who’s NOT Coming To Dinner’’ Art Show –Gray Wall GalleryThe Devil Wears Prada, WhiteChapel, Enter Shikari,For Today – Great SaltAirOcean Groove, Voxhaul Broadcast, RobertSchwartzman – KilbyJesus Or Genome – Poplar Street PubLibertarian Party of Utah Monthly Social – Denny’s(250 West 500 South)Orphan Thanksgiving – Garage‘”Look Who’s NOT Coming To Dinner’’ Art Show –Gray Wall GalleryDouble Wide – Liquid JoesHappy Birthday Giselle Vickery!Happy Birthday Mary Catrow!Friday, November 25“Look Who’s NOT Coming To Dinner’’ Art Show –Gray Wall GalleryMax Pain and the Groovies, Spell Talk, The Future ofthe Ghost – UrbanVNV Nation – In The VenueGirl In A Coma, Fences, Black Box Revelation – KilbyFunk Fu, The Beginning At Last, Padrino & TheDiggerz, Dusk One – Liquid JoesSaturday, November 26Sacrificial Slaughter, Gutsaw,Deathead, Gravetown, Winterlore,Dukestorm Thunderclap, Hooga,Darkblood – Club ExposeConfessions Of A Mormon Boy –ComplexSam Smith Band – Garage“Look Who’s NOT Coming ToDinner’’ Art Show – Gray Wall GalleryBad Boy Brian, DJ Knuckles –Johnny’sYouth Lagoon – KilbyThe Spazmatics – Liquid JoesJesse Sykes & The Sweet Hereafter,The Devil Whale, The Awful Truth –UrbanHappy Birthday Jason Young!Sunday, November 27The Chariot, Vanna, The CrimsonArmada – KilbyDuncan Phillips, Better Off With TheBlues – GarageMonday, November 28The Mesabilities, Albino Father, PentagrahamCrackers – KilbyCandye Kane – State RoomSound Waves from the Underground: Episode#21 – itunesTuesday, November 29Mayhem, Keep of Kalessin, Hate, Abigail Williams –ComplexMichal Menert, Gramatik – KilbyBob Log III, Ugly Valley Boys – UrbanWednesday, November 30The Kooks – In The VenueFlow – KilbyThe Weekenders, Nathan Spenser & the Low Keys –UrbanJesus Or Genome – Poplar Street PubThursday, December 1Mickey Avalon – In The VenueLake Mary, The Erin Rich Ensemble – KilbyHa Ha Tonka, Someone Still Loves You Boris Yeltsin,The Trappers – UrbanSunday, November 6Friday, December 2See-I – DepotBeats Antique – The DepotFilm: Temple Grandin – SLC Main LibraryThursday, November 24Pick up the new issue of SLUG – Anyplace coolCenter, SLC Main LibraryHappy Thanksgiving!68 SaltLakeUnderGround 69

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